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A TEXTBOOK 


ON 

MERCANTILE DECORATION 

'>1 


International Correspondence Schools 

SCRANTON, PA. 


BACKGROUNDS 



SCRANTON 

INTERNATIONAL TEXTBOOK COMPANY 
A-3 










HP iri'H 

.X Ul 


LIBRARY of CONGRESS 
Two Copies Received 


DEC 24 1903 


M 

CLA 


Copyright Entry 



Copyright, 1903, by International Textbook Company 


Entered at Stationers’ Hall, London 


Backgrounds: Copyright, 1903, by International Textbook Company. Entered 
at Stationers’ Hall, London. 


All rights reserved 


NOTICE 


We are indebted to The Merchants Record Company, of Chicago, publishers 
of the Merchants Record and Show Window . formerly The Show Window , for the use 
of the original photographs from which a large proportion of the illustrative displays 
contained in these textbooks were made. These illustrations are the cream of a very 
large number that has been accumulated by them during a series of years, and 
represent the very best efforts of the most successful trimmers. We are therefore 
confident that these selections will be of inestimably greater value to the student 
than would a similar collection from the work of any one artist, because they 
undoubtedly show an infinitely greater range of conception, style, and execution. 


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Printed in the United States 


3919 






PREFACE 


These volumes form the first complete, thorough, and 
practical treatise ever written on the subject of Mercantile 
Decoration. The principal feature of these textbooks is the 
minuteness with which each and every method of proce¬ 
dure,—both as to unit formations and decorative arrange¬ 
ments,—is shown, step by step, by successive illustrations, 
from the initial movement to the finished unit and the 
complete display. So thoroughly has this been done that 
most of the instructions may be apprehended with scarcely 
a reference to the text. In addition to these illustrations, 
however, the text is painstaking and clear, and the whole is 
rendered in such a way that any person who conscientiously 
completes the Course should have no difficulty in satis¬ 
factorily performing the duties of trimmer in any particular 
or general line of merchandise. Each subject considered is 
thoroughly and fully explained and illustrated, and ample 
directions are given for the practical application of the 
knowledge set forth. 

The work of trimming involves three principal opera¬ 
tions: First, the designing and construction of back¬ 

grounds; second, the preparation of the goods themselves 
into decorative foldings, formations, and arrangements for 
the purpose of properly displaying their individual qualities; 
and third, the assembling of these parts into artistic wholes, 
i. e., finished displays. 

The first volume is devoted entirely to a consideration of 
the question of backgrounds, and the subject has been 
treated in such a manner as to render the information and 
ideas available as a basis for unlimited original effort along 
similar or other lines. The subject of color, which is of 


m 



IV 


PREFACE 


paramount importance in the construction of backgrounds, 
as it is throughout trimming in general, has been accorded 
a very thorough and comprehensive presentation, which 
will be doubly appreciated because this subject is usually 
slighted and an understanding of it left to chance, taste, or 
other sources. 

The proper handling of merchandise for display purposes 
and arranging it with proper backgrounds into finished dis¬ 
plays, though forming two important divisions of the art of 
display, have been considered simultaneously for each line 
of merchandise, in order to avoid the necessity, otherwise, of 
an annoying system of cross-references in order to associate 
the various parts of any given line of display. Consequently, 
the unit formations and the arrangements into displays of 
any line of merchandise will be found together, and an idea 
of the proper style of background to use for each, may be 
obtained by a study of the illustrations of the sample dis¬ 
plays given with each line. Thus, each subject will be found 
to be complete in itself, though interrelated to the whole by 
reason of the applicability of fundamental principles to all. 

The illustrations of sample displays are the best efforts 
of the leading exponents of the “Trimming’Art,” fresh and 
up to date, all having been exe'cuted within the past five 
years, and the great majority of them much more recently* 
All the illustrations are half-tone reproductions from original 
photographs, and with the exception of the majority of those 
showing finished displays, all were taken especially for this 
work. Every possible care was taken to secure the best 
results, —from the retouching of the photographs to the 
selection of the paper for printing,— with the consequence 
that for clearness of detail and adaptability to the purpose 
intended these half tones have never been equaled. 

The Course was prepared by Mr. William H. Shrader, 
who has been for twenty years in active practice as a suc¬ 
cessful managing trimmer for the largest and most progress¬ 
ive retail establishments of America, and as a writer upon 
these subjects for the leading retail trade journals. The 
work will be found of inestimable value for reference 


PREFACE 


v 


purposes, not only to the professional trimmer, but to all 
persons engaged in the handling and selling of merchandise 
at retail, including managing merchants, heads of selling 
departments, and salesmen having in charge the decorations 
of their respective stores or departments. 

The method of numbering the pages and articles is such 
that each subject is complete in itself; hence, in order to 
make the indexes intelligible it was necessary to give a 
number to each subject or part. This number is placed at 
the top of each page, on the headline, opposite the page 
number, and to distinguish it from the page number it is 
preceded by a section mark (§). Consequently, a reference 
such as § 18, page 5, will be readily found by looking along 
the inside edges of the headlines until § 18 is found, and 
then through § 18 to page 5. 

International Correspondence Schools. 











































































































CONTENTS 


Backgrounds 

Introduction .... 
Working Outfit . . . 

Flat Covering .... 

Plaitings. 

Shirred Puffings . . . 

Ball Puffings .... 
Fulled Puffings . . . 

Pasted Puffings . . . 

Smocking. 

Tiling . 

Paneling. 

Denims. 

Stencils. 

Ovals. 

Fresco Decorations . 
Wall-Paper Decorations 
Scroll Making .... 
Special Fixtures . 

Lattices. 

Tarlatan Backgrounds . 
Crape-Paper Ruffles . 
Crape-Paper Roping 
Crape-Paper Tassel . . 

Fan Festoons .... 
Turned Festoons . . . 

Wheel Rosette Festoons 
Turban Rosette Festoons 
Intertwined Festoons 
Separate Tabs . . 

vii 


Section Page 

. 1 1 

. 1 3 

. 1 5 

. 2 1 

. 3 1 

. 4 1 

. 4 13 

. 4 20 

. 5 1 

. 5 6 

. 5 10 

. 5 18 

. 6 1 

6 7 

. 6 10 

. 7 1 

. 7 5 

. 7 11 

. 8 1 

. 8 12 

. 9 1 

. 9 11 

. 9 15 

. 10 1 

. 10 4 

. 10 10 

. 10 16 

. 10 29 

. 10 31 















Vlll 


CONTENTS 


Backgrounds — Continued 

Section 

Page 

Portieres. • 

. 11 

1 

Lace Curtains. 

. 11 

11 

Stock Backgrounds. 

. 11 

34 

Fundamental Colors. 

. 12 

1 

Modifications of Colors in Tone . . 

. 12 

10 

Gradation of Tints. 

. 12 

10 

Gradation of Shades . 

. 12 

11 

Color Combinations ....... 

. 12 

14 

Two-Tone Harmonies. 

. 12 

17 

Three-Tone Harmonies. 

. 12 

18 

Analogous Harmonies. 

. 12 

22 

Perfected Harmonies. 

. 12 

25 

Simultaneous Contrasts. 

. 12 

26 

Good and Bad Combinations .... 

. 12 

29 

Two-Color Combinations. 

. 12 

31 

Three-Color Combinations .... 

. 12 

32 

Four-Color Combinations. 

. 12 

32 

Six-Color Combinations. 

. 12 

32 

Terms Used in Color Work .... 

. 12 

34 

Characteristics of the Principal Colors 

. 12 

35 

Colors in Nature. 

. 12 

36 

Colors of Metals. 

12 

37 

Effects of Lights on Colors .... 

. 12 

38 

General Rules for Beginners .... 

. 12 

40 









BACKGROUNDS 

(PART 1) 


WORKING OUTFIT AND FLAT COVERING 


INTRODUCTION 

1. The qualities that go to make up a successful window 
dresser consist, besides good taste and versatility, to a 
great extent in the deftness and speed with which his hands 
are able to execute his ideas. It is the purpose of this 
Course to supply the student with such information as will 
enable him to gain the required manual dexterity. It will 
also give a full discussion of the various materials suitable 
for decorative purposes. 

This information is given largely by means of illustrations, 
thus rendering lengthy text descriptions unnecessary. The 
gradual transformation that the material undergoes before 
it reaches its final form is very clearly followed out. Ordi¬ 
narily, illustrations are used for the purpose of illuminating 
the text. Here they, in many cases, may be said to serve 
a double purpose of both text and illustrations. The fig¬ 
ures, therefore, should be scrutinized in their most minute 
details, and every step in the different operations shown 
should be carefully studied and memorized. 

The natural tendency, perhaps, is to examine the illustra¬ 
tions in a general way, with the result that only a vague con¬ 
ception of the various manipulations is gained, instead of a 
thorough and lasting impression. It is not only necessary 
that the student should study intently the motions indicated 

For notice of copyright, see page immediately following the title page 



2 


BACKGROUNDS 


§1 


in the figures, but he must also perform these himself, and 
in the most careful manner. Furthermore, he should repeat 
the various manipulations displayed in the figures until the 
actions of the hands become more or less automatic; or, as it 
is ordinarily called, second nature. It should, therefore, be 
the invariable habit of the student to imitate every motion 
indicated in the illustrations and to repeat such motions until 
they can be excuted with accuracy and speed. This point is 
of vital importance. 

The student should also understand that it is not the pur¬ 
pose of this Course to teach him all the combinations and 
effects he will have occasion to produce in his future work. 
Rather should it be considered as a guide that will lead him 
into the right road. While it describes fully the main 
branches of window dressing, it is for him to make the 
endless variations and combinations that are necessary in 
order to obtain the results intended. 

The habit of observation is also one that ought to be con¬ 
stantly cultivated, not because of the opportunity it affords 
of copying the ideas of others, but for the tendency it has of 
starting one’s own ideas along new lines, and also because 
it often teaches what combinations and effects are to be 
avoided. 


§1 


BACKGROUNDS 


3 


WORKING OUTFIT 

2. Tools.—Fig-. 1 illustrates the tools required for a 
general practice of window-trimming, interior and general 
decoration. Since our Course instructs in all lines of com¬ 
mercial decoration, a complete outfit will be necessary to 



Fig. 1 


properly follow and practice the instruction, and to attain a 
sufficient state of proficiency and expertness to make the 
knowledge of marketable value. 

The various tools are illustrated so as to render detailed 
description unnecessary. It may be well, however, to note 











4 


BACKGROUNDS 


1 


special features of some of them. The handle shown at the 
lower right-hand corner of the illustration is hollow, with a 
screw top or lid, and contains a number of useful small tools, 
such as an awl, gimlet, chisel, gouge, tack lift, screwdriver, 
etc. When in use, these fit in and are firmly held, by a 
suitable grip, at the small end of the handle. This is a 
very useful implement and no active trimmer can well afford 
to be without one. The tool just above the handle is a card 
punch and is also indispensable. Next the small scissors in 
the foreground is shown a pair of pliers, a special feature of 
which is a construction that causes the jaws to open parallel. 
This makes them equally useful as a wrench. On the right 
side, this tool is furnished with extra knife-like jaws for wire 
cutting, which is a very necessary feature. Just above is a 
combination wrench, hammer, tube pliers, and nail puller. 
Just over the small hammer is a metal spirit level. This 
contains two spirit tubes for leveling both horizontally and 
perpendicularly. Over the large hammer is a 2-foot rule 
known as the draftsman’s. Its feature is beveled edges on 
one side on which are the different scales used in mechanical 
drawing. Between the large saw and the shears is shown a 
mattress needle, which will be found useful on numerous 
occasions. The rest of the tools are so familiar as to require 
no explanation. 

Because of the ease with which tools disappear and are 
lost, it is timely to suggest that each student should provide 
himself with a suitable and handy tool box equipped with lock 
and key, and cultivate the habit of removing therefrom, at any 
one time, only such tools as are required for the work in hand; 
also, the habit of always returning them to the box when not 
in use. This will prevent considerable loss and vexation. 

3. Frames.—Fig. 2 shows a number of frames that will 
be required by the student at different times during his 
studies, and which he should construct himself from time to 
time as required. In this way he will become familiar with 
the use of tools and at the same time cultivate mechanical 
ideas and ability. These frames are all made of 1-inch lumber, 



§ 1 BACKGROUNDS 5 

cut 2\ inches in width. If carefully handled, the circles and 
scrolls may be made of i-inch lumber, which is much easier 
sawed, but of course much more easily broken. 

As the first lessons are demonstrated, and are to be prac¬ 
ticed, on the square frames, the student should provide 
himself with one of each at once. The smaller one is 2 feet 
by 3 feet, and the larger one, 3 feet by 5 feet, in size. 


Fig. 2 

FUAT COVERING 

4. Square Covering. — In the practice of trimming 
there is always more or less flat covering to do. It enters 
at some point or points into almost every design. Back¬ 
grounds, ceilings, and floor spaces, frames, shields, strips, 
boards, etc. require a ground covering for the purpose of 
concealing the wood, or as an under color to bring out the 
designs to follow. There are several methods of flat 







6 


BACKGROUNDS 


§1 




Fig. 3 Fig 




































§1 


BACKGROUNDS 


7 




Fig. 5 Fig 




























8 BACKGROUNDS § 1 

covering, each of which will be fully explained and the best 
ways of accomplishment taught. 

The first method is for the covering of straight-edged 
spaces or frames. For the purpose of instruction, we illus¬ 
trate the work on the small frame, as will be noticed in the 
figures, but the work is done in the same way, whether on 
frames, wall spaces, floors, or ceilings, except when the space 
being covered abuts, or joins at an angle, another space. 
Then the edges of the cloth must be turned under and the 
folded edge, thus formed, tacked along exactly following 
the line of juncture. 

First secure cloth an inch or two larger every way than 
the space to be covered. Then begin by tacking the middle 
points of the cloth edges at the middle points of the frame, 
or space edges. Tack first at the top and then at the bottom, 
drawing the material across pretty tight, but not tight 
enough to tear the fabric. Next tack one side and then the 
other, drawing tightly as before. These points are illustrated 
in Figs. 3 and 4. Then take the corners of the material, one 
after the other, as shown in Fig. 4, and draw them out to their 
respective corners, stretching the cloth hard along the lines 
leading to the middle tacks. While holding it thus, drive in 
a tack on each side of the corner, as illustrated in Fig. 5. 
Fig. 6 shows the continuation of this work and the drawing 
out of the last corner. 

After the middles and corners are all secured, proceed to 
fill in the rest of the tacks by always placing each tack 
midway between two already in place. For instance, in 
Fig. 7, the bits of white paper indicate where the previously 
driven tacks are located. Therefore, according to -the rule, 
the next tack is placed midway between, as shown in the 
figure. Fig. 8 shows the placing of the following tacks, and 
so on until there are tacks every 3 or 4 inches all around the 
space or frame. 

This method obviates the gathering of fulness at any 
point, which would result in wrinkles otherwise impossible 
to work out. It should always be employed in stretching 
cloth on all large frames or spaces. 


§1 


BACKGROUNDS 


9 



Fig. 7 



Fig. 8 






















10 


BACKGROUNDS 


1 




Fig. 9 Fig. 10 


















































§1 


BACKGROUNDS 


11 




Fig. li Fig. 12 










12 


BACKGROUNDS 


§1 



Fig. 13 



Fig. 14 



































BACKGROUNDS 


13 


5. Another method of accomplishing the same result, and 
which is suitable for, and a little quicker in covering, small 
frames and spaces, is to begin at the corner of both frame 
and material, as illustrated in Fig. 9. For this start, always 
select a selvage edge of the material. Next, draw it down 
tightly and tack at the bottom, as shown in Fig. 10. Then 
fill in all the tacks required along the first side, proceeding 
by middles, as taught in the first method. Draw out the 
opposite corners, as illustrated in Fig. 11. See that the 
material is well stretched along the edge lines. After 
securing all the corners, proceed to fill in the tacks opposite 
the finished side, as shown in Fig. 12; then on the top edge, 
and finally along the bottom, as illustrated in Fig. 13. 

When the directions for either of these methods are 
strictly followed, the result will be a perfectly covered space 
or frame, absolutely devoid of wrinkles and as tight as a 
drumhead. 

6. Circular Covering.—Very often there are frames 
and spaces that have curved or circular edges one place or 
another. Such frames and spaces require special methods 
for following the curved lines. In covering these, always 
start by fastening the material along a straight side, as illus¬ 
trated in Fig. 14. Then draw over the goods by middles 
and hold in place by temporary tacks, as seen in Fig. 15. 
These are called temporary tacks because they are removed 
when the final tacks, which go in on the edge or around on 
the other side of the frame, are in place. Now trim off the 
surplus material, as shown in Fig. 16, cutting it about 1 inch 
from the curved edge if the final tacks are to go in on the 
edge of the frame, or about 2 inches if they are to be driven 
on the back of the frame. Next, cut slashes every couple of 
inches, as illustrated in Fig. 17. By the overlapping of these 
slashed ends, the fulness, which would otherwise cause 
wrinkles on the face of the covering, is taken up. Fig. 18 
shows the tacking down of the slashed ends, and Fig. 19 
shows the work of removing the temporary tacks. This is 
not difficult when the curve can be got over or around, but 


14 


BACKGROUNDS 


§1 



Fig. 15 



Fig. 16 































§1 


BACKGROUNDS 


15 



Fig. 17 



Fig. 18 















16 


BACKGROUNDS 


§1 



Fig. 19 



Fig. 20 






















§1 


BACKGROUNDS 


17 



Fig. 21 



Fig. 22 
























18 


BACKGROUNDS 


§1 


when a curve ends against an obstruction, as when the floor 
or ceiling of a window joins a curved glass, or framework, 
the work must be accomplished somewhat differently. 
Instead of being carried around, the slashed edges must be 
turned under, as illustrated in Figs. 20 and 21, and the tacks 
driven in as closely as possible to, and following, the curved 
edge. For this finish, upholsterers’ gimp tacks should be 
used. These differ from ordinary tacks in having small, 
round heads, rendering them less noticeable than flat heads 
in places where it is impossible to conceal the tacks. 

7. Wrap Covering.—Still another form of flat covering 
is that known as wrap covering, which is very plainly 
illustrated in Fig. 22. For this kind of covering the 
material is torn into strips about 3 inches in width, and then 
rolled up like surgical bandages. In wrapping, draw tightly 
at each turn, folding under the torn edges along the overlap 
in order to conceal the frayed part and give a neat finish. 
Care should be exercised that the overlap be as short as 
possible in order to save material and to cover up rapidly. 
This method of covering is used for the framework of all 
open designs, such as lattices, scrolls, etc. With practice, 
it is very easily and quickly done. 

To flat-cover box pedestals, always have goods large 
enough in one piece to cover all sides. Begin at one corner 
and then draw the material all the way around, and finish 
by turning the edge under, overlapping the starting line, and 
then gimp-tack. Tack the ends of the cloth over on to the 
ends of the pedestal. The ends are then separately covered 
with pieces cut slightly larger, the surplus allowing for a 
turn-under finish. Fasten by gimp-tacking all around close 
to the edges. Step fixtures should be covered similarly. 
Put the goods on the risers first and finish by gimp-tacking 
down the tread covers. Remember that all gimped finishes 
are to be flush with, and neatly following, the edges of the 
fixture or space being covered. 


BACKGROUNDS 

(PART 2) 


PLAITINGS 

1. Side Plaiting. — In trimming-, as in colors, there are 
three primary natural forms from which all others have 
been produced by intelligent combination and design. They 
are the plait , the puff , and the drape. 

The plait occurs in the handling of merchandise under 
the name of the fold. The drape is also known as the 
festoon. Surface puffing is known as shirring. These 
primaries have many variations. 

Side plaiting is that form in which the folds are all 
turned the same way. When all folds are turned to the right, 
it is termed right plaiting; when turned to the left, left plait¬ 
ing. This distinction is necessary, because sometimes in 
covering backgrounds or frames, instead of side plaiting 
one way throughout, the folds are turned to the right on the 
right side and to the left on the left side, and finished with a 
neat box plait where they meet in the center. 

In side plaiting, the first thing to do is to mark the spaces 
to be covered by each width of material. These are usually 
equal to half the width of the goods; then cut a length of the 
goods for each space marked. Always cut the goods a little 
longer than actually required, to allow finger hold in pulling 
the plaits taut. Now make a fold or crease across widths, 
very sharp and distinct, an inch or two from the ends that 
are to go at the top. This crease will serve as a line to 
follow in order to lay the plaits perfectly straight with the 
warp of the material. This is done by being particular to 
see, at every turn, that this line folds over exactly on itself. 

For notice of copyright , see page immediately following the title page 

n 



2 


BACKGROUNDS 


§2 




Fig. 1 FlG 















§2 


BACKGROUNDS 


3 


The student will notice that every plait necessarily has 
two turns —an overturn and an underturn. To be successful 
at the work, it is necessary to see that the underturn is also 
kept straight with the warp of the goods. In correct side 
plaiting, the overturn of a plait should slightly overlap the 
underturn of the preceding plait, just enough so that the 
fastening of a plait will also catch and secure the underturn 
of the preceding one. While this is the proper way to do the 
work, in order to save material and make it reach out over 
a given space, side plaiting is often used with more or less 
space between the plaits, instead of overlapping them. In 
such cases, two pins or tacks should be used at each side of 
the plait —one to catch and hold the overturn, and one to 
serve the same purpose for the underturn. By thus securing 
the underturn, the goods turn under properly throughout the 
entire length of the plait, and the plait also follows a 
straight line instead of bulging outwards toward the middle. 
Fig. 1 illustrates the manner of starting this style of plait¬ 
ing. This is usually at the upper right-hand corner, as 
shown. For the average work turn the goods into about 
li-inch folds. Allowing for the overlap, this will give a 
space of about li inches between the overturns of the plaits. 

Proceed as shown in Fig. 2, until the whole width has 
been laid in even plaits. See that the goods are so dis¬ 
tributed that the edge of the material extends a little beyond 
the space marks at the finish of each width. Next draw 
down and fasten the plaits at the bottom, as illustrated 
in Fig. 3. Exercise care in using about the same amount 
of material in forming each plait at the bottom as was 
used at the top, and that the edge finishes in a perpen¬ 
dicular line. 

Fig. 4 shows the method of starting the next piece. The 
edge of the material is turned under and forms the next 
plait, and is laid over the edge of the preceding piece; this 
is always finished out flat without an underturn, which would 
be unnecessary. Proceed in the same manner with all the 
lengths until the whole frame or space is covered. Then 
trim off the surplus goods, as shown in Fig. 5. Decorative 


4 


BACKGROUNDS 


§2 




Fro. 3 Fig- 







































§2 


BACKGROUNDS 


5 



Fig. 5 



Fig. 6 































































§2 


BACKGROUNDS 


7 


finishes for the- edges of plaited spaces will be described in 
succeeding Sections. 

2. Box Plaiting. —This form of plait is a combination 
of a right and a left side plait in each box plait. First 
determine the width of the box plaits and the distance they 
are to be apart, for any given decoration; then mark off the 
frame accordingly, top and bottom, as illustrated in Fig. 6. 

In laying box plaits, the overturns should come exactly at 
the marks that indicate the plait spaces. The underturns, 
should slightly overlap so that one fastening will catch and 
hold both in place. 

The number of box plaits to a width of material should be 
regulated so that the width finishes with the final overturn of 
the last box plait. Then the next width is started by slip¬ 
ping its edge under the last box plait of the preceding 
width, just before the last overturn is tacked down. 

Fig. 7 shows the laying of box plaits and the point to 

which the last plait is carried before the edge of the next 

width is fastened under, after which the final turn on this 
plait is made. The work then proceeds in the same manner 
with each and every width required to cover a given space. 

Fig. 8 shows the tacking of the lower ends of the box 

plaits, and also the way a frame treated with these plaits 

appears. 

3. Fulled Plaiting. —This is one of the most conve¬ 
nient and effective forms of plaiting. With the practice 
necessary to become proficient, it will be found the easiest 
and quickest of execution. The preparations for this 
work are the same as in side and box plaiting; that is, 
cut the material into the required number of lengths, 
and mark off the spaces to be covered by each width of 
goods. Spaces should be equal to about half the width 
of the goods. 

Begin by turning back about 2 inches at one end of each 
length and crease into a sharp, straight edge exactly at right 
angles with the selvage of the material. Along this straight 
folded edge form very regular, even plaits, not more than 


8 


BACKGROUNDS 







Fig. 9 Fig. 10 









§2 


BACKGROUNDS 


9 


1 inch in width, as illustrated in Fig. 9. Care must be taken 
to keep these plaits flush at the front, back, and top; 
also, that both selvages are turned toward the back. Now 
take the large mattress, or upholsterers’, needle that has 
previously been threaded with a length of thin, smooth, and 
strong twine, the length of which should be about 1 yard 
longer than the top of the whole frame or space to be 
plaited. Place the point of the needle against the bunch of 



Fig. 11 

plaits, as illustrated in Fig. 10, about equidistant from sides 
and top. Then place the eye end of the needle against the 
hollow of a button of the clothing, and draw the plaits on to 
the needle, one or two at a time, as shown in Fig. 11. After 
the plaits are all on the needle, get them over the turn 
of the twine and eye of the needle, the same way, a couple 
at a time, until all are on the twine. Always see that the 
other end of the twine is knotted, to prevent the plaits from 
escaping while others are being put on. 








10 


BACKGROUNDS 


§2 




Fig. 12 Fig. 13 


















§2 


BACKGROUNDS 


11 


Treat each width in the same manner, until all are threaded 
on the twine, being careful to see that all selvages turn to 
the wall or frame side. Then remove the needle, and knot 
that end of the twine. Now fasten one end of the twine 
at a top corner of the frame or space by driving a tack 
through the knot. Drive the tack in hard, so that the head 
grips the twine. Then drive a tack part way in at the other 
corner, and draw the twine over it. The work will then 
appear as seen in Fig. 12. Now distribute the plaits along 
the twine, so as to scatter the weight of the goods, and 
then pull the twine taut over the tack; after the twine is 
perfectly straight and tight, give it one turn about the tack, 
and then drive the head down hard on the twine, which will 
hold it securely in place. Now bring the selvages together 
at the marks previously indicated, and fasten each pair by 
driving a tack so as to catch both at once. Distribute the 
plaits at equal distances apart, as may be seen in Fig. 13, and 
then drive a tack through the cloth and under the twine, in 
each space between the plaits, as shown in Fig. 13, allow¬ 
ing the heads of the tacks to grip the twine as they are 
driven home. 

The plaits are now ready to be drawn down and fastened 
at the bottom, which is done as illustrated in Fig. 14, and 
very much the same as in side plaiting, except that the same 
regularity cannot be preserved, because the fulled plaits 
must, like all plaits, be as nearly perpendicular as possible. 
In order to do this, it will be found necessary to shift the 
bottom fastenings either way; and sometimes it will have 
to be turned the reverse from the regular order to get the 
fulled plait to fall properly. The judgment will have to 
be educated by practice in this matter, and by keeping in 
mind the fact that all plaits must be perfectly straight up 
and down with the perpendicular and parallel with the 
straight edge of the frame or space. 

In all plaiting, with the exception of the top of fulled 
plaiting, the tacks or pins must be set and driven as near as 
possible to the edge of the fold. This is an absolute rule, 
and must always be observed; otherwise, the plaits will be 


12 


BACKGROUNDS 


2 





Fig. 14 


























































































2 


BACKGROUNDS 


13 


slack and limp, instead of straight and taut, as is necessary 
to their proper appearance. 

Fig. 15 shows a front view of a finished, fulled plaiting. 
Fig. 16 shows a view looking from the right, and Fig. 17 
shows one looking from the left. The advantage of this 
style of plaiting over all others is that it appears practically 
the same from all angles of vision. 



Fig. 15 

4. Ray Plaiting. — This is a form of plaiting in which 
the plaits radiate from a common center. It is also known 
as sunburst , or sunburst plaiting. In studying this style of 
plaiting, use the large practice frame. The lengths of 
material are cut as they are needed, instead of all at once as 
in the other forms of plaiting, because they vary in length 
in covering square frames or spaces. But for circular 




14 


BACKGROUNDS 


§2 



Fig. 16 






















§2 


BACKGROUNDS 


15 



Fig. 18 







Fig. 19 





















16 


BACKGROUNDS 


§2 


frames, where all points of circumference are equidistant 
from the center, the widths required will be all the same 
length and may be made ready ahead. 

The practice work should be done on a square frame. 
The first thing to do, therefore, after having frame and 
material in readiness, will be to cut a length of goods suffi¬ 
cient to reach from the middle of one side of the frame out 
to both opposite corners, allowing something over for hand 
hold. 

Now find the exact middle of this length of goods and 
press it into a sharp crease, crosswise, which will serve as a 
line to follow in laying the width into cross-plaits. The 
manner of laying these plaits is illustrated in Fig. 18. They 
are shown completed and held in readiness to attach to the 
frame, in Fig. 19. Great care should be exercised to make 
these plaits an equal width (which should be about 1 inch), 
and to keep the edges even. 

Fig. 20 shows the method of attaching the first bunch of 
plaits to the frame. The tack is always to be driven 
as close as possible to the upper edge of the plaits, as will 
be observed in the illustration. Next draw both sides of 
the bunch of plaits together over the head of the tack, as 
shown in Fig. 21, so as to cause both sides to radiate from 
the same point. Now begin to lay the outer folds of the 
plaits, as illustrated in Fig. 22. The first plait is formed 
by turning the selvage of the goods under. Tack at the 
extreme corner, with the edge of the plait following and 
just concealing the edge of the frame. From this point 
continue to form the material into tiny plaits and tack down, 
about 3 inches apart, until the whole width is plaited. Do 
the same with the other end, at the opposite side, the work 
thus far appearing as illustrated in Fig. 23. Now cut 
another length of material; cross-plait at the center, as 
before, and fasten over the preceding piece, as shown in 
Fig. 24. The top edge of these plaits must be placed so as 
to immediately follow the top plait of the other piece of 
goods, in order that there may be no gap between the plaits 
of the different pieces, and that they may appear, when 


9 


BACKGROUNDS 


17 



Fig. 20 



Fig. 21 


























18 


BACKGROUNDS 


§2 



Fig. 22 



Fig. 23 











§2 


BACKGROUNDS 


19 





Fig. 24 



Fig. 25 











20 


BACKGROUNDS 


2 


finished, to be all one lot of regular, evenly laid plaits. 
Draw the sides of this hunch of plaits together and. carry 
out the ends as before. 

Fig. 25 illustrates the way to join the widths at the ends. 
The selvage of the preceding width is tacked out flat with¬ 
out an underturn. Then the first plait of the succeeding 
width is laid over it, the regular distance from the last plait 



Fig. 26 


of the other one. This gives the appearance of continuous 
plaiting and makes the whole, when finished, show up with¬ 
out a break. 

Occasionally, the whole widths do not quite reach over the 
entire, space or frame, in which case the remaining space has 
to be filled in with a fraction of a width, as is illustrated in 
Fig. 26. When the whole frame or space is plaited, the sur¬ 
plus material is cut away, as shown in Fig. 27, and the edge 







§2 BACKGROUNDS 21 

finished with an appropriate trimming, styles of which will 
be described later on. 

o. Sunbursts. — To make a complete sunburst quickly, 
saving much time over cutting separate widths for each 
space from center out, cross the plaited widths at the center, 
as shown in Fig. 28. Now use a contrasting color and con¬ 
tinue in the same manner. The result will be a decoration 
like that shown in Fig. 29. The width of the stripes of color 


Fig. 27 

may vary as in the figure, or they may be uniform. In order 
to get them uniform in width, it is necessary to space them 
along a circle drawn around the center, and then make the 
color edges meet at the points dividing the spaces on the 
circle. An off-hand way of accomplishing the same thing is 
to figure out the width of color space required at a given 
distance from the center, and then work each width to that 
measure as it is put on. However, the safest, surest, and 
most exact method is the one first mentioned. 











22 


BACKGROUNDS 


§2 



Fig. 28 



Fig. 29 

































§2 


BACKGROUNDS 


23 



Fig. 30 



Fig. 31 






































24 


BACKGROUNDS 


§2 


6. Saw-Tooth Draping. - A very attractive variation of 
ray plaiting, known as saw-tooth draping, is illustrated 
in Figs. 30 and 31. The way to make it is readily under¬ 
stood, and it is only necessary to call attention to the spacing. 
It will be noticed that the points that divide the spaces on 



Fig. 32 


one side fall on lines exactly midway between the points on 
the other side. It is thus that the plaits raying out from the 
opposite sides give the saw-tooth effect. 

7. Ray Plaiting for Wall Shelves.—Ray plaiting is 
also used to decorate wall shelves, as shown in Figs. 32 















26 


BACKGROUNDS 


§2 


and 33. An hour-glass effect is obtained by making the 
design in Fig. 33 double, one part up and the other down, 
from the point where the plaits converge. It is very often 
used in this way to drape pedestals and stands, and is known 
as the hour-glass draping. 

On backgrounds it may be, and often is, used double the 
other way, thus giving double-cone, or pyramidal, effects. 



Fig. 35 


These effects should be well noted, because they are very 
useful in general designing. 

8. Wave Plaiting.—This style of plaiting takes its 
name from its undulated appearance, and is in reality a sort 
of continuous form of festooning, to which it is, perhaps, as 





§2 


BACKGROUNDS 


27 


nearly allied as it is to plaiting. But, as the principal opera¬ 
tion in wave plaiting is the laying of plaits along the sel¬ 
vages of the material, it will be considered as a style of 
plaiting. 

As in the other styles of plaiting, it is necessary to first 
mark off the spaces and cut the lengths of material. The 



Fig. 36 


spaces should be 30 or 32 inches in width for yard-wide 
goods, and proportionate for other widths of material. Cut 
the goods in lengths equal to 2 i or 3 times the length of 
the spaces, according to the fulness desired, which is 
regulated by the variation of the space allowed between the 
plaits. 





28 


BACKGROUNDS 


§2 


Begin at the upper right-hand corner of the frame or space, 
by laying plaits, as illustrated in Fig. 34. For an aver¬ 
age fulness, make the plaits about 3 inches in width, with 
about 1 inch space between the overturn of a plait and the 
underturn of the preceding one. In order to prevent the 
gathering of a bulk of goods that would hinder the work, it 
will be found best to plait along one side for a foot or two, 
then on the other side, and thus back and forth until both 



Fig. 37 


sides are plaited all the way down. Fig. 35 shows the bring¬ 
ing up of the plaits on the second edge. Care must be 
exercised here in seeing that the plaits follow, as nearly as 
possible, the cross-threads of the goods; otherwise, the 
material would be taken up faster or slower on one side than 
on the other, and the plaits would be correspondingly out of 
regular order. 





§2 


BACKGROUNDS 


29 


Fig. 36 shows the starting, and Fig. 37 the finish, of the 
second width. By adding widths in the same manner, any 
size space may be covered. 

The tacks necessary to hold the plaits in place may be 
concealed in a number of ways that will be described later. 
The simplest and easiest finish is illustrated in Fig. 38. For 
this purpose tapes, or strips of the material with the edges- 



Fig. 38 

turned under to resemble tapes, are used. The manner of 
applying the same is illustrated in the figure. 

It will be noticed that there is a gap between the upper 
plait and the top of the frame. This may be dealt with in 
two ways: First, by stretching a half width of material 
across the top of the frame before beginning the plaiting; 
or, second, by making a festoon drapery along the top, as is 





so BACKGROUNDS §2 

shown in Fig. 39, the making of which will be described in 
the Section on festooning. 

When this plaiting is used on frames, the surplus material 
at the bottom may be trimmed off an inch or two beyond the 



Fig. 39 


edge of the frame, and the cut edge tacked over on the back 
of the frame. When used on permanent wall spaces, it is 
only necessary to tuck the surplus under along the line 
made by the junction of the floor and background. 













BACKGROUNDS 

(PART 3) 


PUFFINGS 


SHIRRED PUFFINGS 

1. Surfaces. —Shirring is a style of decoration pro¬ 
duced by gathering any soft material into more or less 
regular puffs, so as to present a crinkled effect. The closer 
and more evenly the goods are crinkled, the prettier will be 
the result and the better the shirring as a matter of work¬ 
manship. This form of puffing is used for covering all sorts 
of surfaces, such as background spaces, frames, shields, 
plaques, the ceilings and floors of windows and show cases; 
and for nearly all decorative shapes, such as large Easter 
eggs, bells, harps, lyres, scrolls, horseshoes, etc., when they 
are used as special features in designing displays. 

The closeness of crinkle is regulated according to the 
conspicuousness of the surface on which it is employed, being 
used more loosely and open on backgrounds and floors, and 
more carefully executed on special features and centerpieces. 

First space off, in the usual way, the surface to be covered, 
making the spaces about half the width of the material to be 
used for the puffing. Cut the lengths of the material from 
2i to 3 times the length of the spaces, according as to 
whether loose or close puffing is desired. The closer the 
puffing, the more fulness of material will be required. 

Now take a width of goods and tack it on the first space, 
the same as is done in wave plaiting, as illustrated in Fig. 1. 


For notice of copyright , see page immediately following the title page 
§ 3 






2 


BACKGROUNDS 







Fig.1 Fig. 









§3 


BACKGROUNDS 


3 


Note that the only difference is in the width of the spaces, 
these being much narrower than in wave plaiting, so as to 
afford sufficient material to properly puff the surface. Begin 
puffing by taking the top of the material up in loops to a line 



Fig. 3 


straight with the tops of the tacked edges, as shown in Fig. 2; 
first in the middle, and then again in the middle of those loops, 
and so on until the goods are worked to a comparatively 
straight top line, as seen in Fig. 3. Then form the goods 
into crinkles with the fingers, as illustrated in Fig. 3. 
Retain the folds so arranged with the left hand until pins, to 
permanently fix them, are set and driven in with the other 




4 


BACKGROUNDS 


§3 


hand. The pins used for this purpose are not bent over, as 
is done in retaining plaits in place. If they were, they 
would crush down the puffing and also be much more con¬ 
spicuous themselves. By allowing them to remain upright, 
the spring of the puff causes the goods to slide upwards 



Fig. 4 

along the pin until stopped by the head, thus concealing the 
pins. Use just enough pins to hold the crinkles in place, and 
then proceed to form more. Proceed in this way, as will be 
seen in Fig. 4, until the whole space is shirr puffed. 

Fig. 5 shows the starting of another width of goods, and 
Fig. 6 shows it in place ready to start the puffing in a similar 
manner to that of the first width. 







§3 


BACKGROUNDS 


o 



Fig. 5 







6 


BACKGROUNDS 


§3 



Fig. 6 







§3 


BACKGROUNDS 


7 



Fig. 7 





8 


BACKGROUNDS 


§3 


Fig. 7 illustrates the manner of puffing over into the pre¬ 
ceding width so as to conceal the line of attachment between 
them. This is absolutely necessary for a good job of shir¬ 
ring. When finished, the whole surface must appear as one 
sheet of puffing, as illustrated in Fig. 8. 

Note that there is absolutely no evidence of two pieces of 
material having been used. Any size or shape of space ma} 



Fig. 8 


be covered in this manner. Very expert operators attain a 
proficiency whereby they can shirr without the preliminary 
tacking of the edges, but to do so requires extreme skilful¬ 
ness. Hence, for beginners, and especially for the working 
of overhead spaces, the tacking at the edges will be found 
very necessary and time saving, as the puffing can then be 
done much more easily and rapidly with the material thus 
held in place. 



§3 


BACKGROUNDS 


9 



Fig. 9 



Fig. 10 















10 


BACKGROUNDS 


§3 



Fig. 11 

sometimes be used, according- to taste or the amount of 
fulness desired. For very heavy, full edging, the whole 
width of goods is used, and for thin, lighter shirring, less 
width is necessary. First, take a length of material and 
fold lengthwise, bringing the two edges together. Then lay 
in good-sized plaits, say 3 or 4 inches wide, as illustrated in 
Fig. 9. Fulness of shirring may be regulated by the close¬ 
ness or sparseness of these plaits. The pins that fasten 
these plaits should be driven near the double edge of the 
material and midway between the upper and under turns of 


2. Edging.—The majority of methods that are used for 
decorating backgrounds, ceiling spaces, and frames requires 
some kind of a finish at the edges. These have been 
referred to heretofore, when the necessity for the same was 
apparent. 

The first to be considered will be shirred edging. The 
work on this style of edging is very much the same as that 
of shirred puffing; but, for convenience, the application is 
somewhat different. Half-width material is usually employed 
for this purpose, though wider or narrower material may 













§3 


BACKGROUNDS 


11 


the plaits, and also following an imaginary line that will fall 
about the middle of the finished edging. It will be noticed 
that the edge of the material is not fastened along the edge 
of the frame, but at a distance within that will be about equal 
to half the width of the edging when completed. Any 
length of material may be used. Plait on one piece at a 
time and then add succeeding pieces, as shown in Fig. 10. 



Fig. 12 


After the material has been mounted, as shown in Figs. 9 
and 10, the next operation is to part the sides of the folded 
goods, as illustrated in Fig. 11. This spreads out the mate¬ 
rial into a crinkled tube and distributes it ready for shirring. 
It is then gathered into even puffs, as shown in Fig. 12. 
The material is retained in that form by driving in pins, as 









12 


BACKGROUNDS 


§3 


illustrated in Fig. 13. As in ordinary surface shirring, these 
pins are to be left standing erect, and not bent over, in order 
that the goods may be allowed the full spring of the puff, 
which will cause the material to slip along the shaft of the 
pin until stopped by the head, thus burying and almost 
entirely concealing the pin. The pin will not then be notice¬ 
able except to the closest observer. When material is not 



Fig. 13 


springy enough in itself to produce this effect, the goods 
should be drawn up along the pins in like manner as each 
pin is driven in place. 

Fig. 14 shows a frame decorated with ray plaiting and 
edged with shirred edging. It also illustrates how this 
work should look when properly done. 






§3 


BACKGROUNDS 


13 



Fig. 14 



Fig. 15 


























14 


BACKGROUNDS 


§3 


/ 



' 

. 


Fig 


16 









§3 


BACKGROUNDS 


15 


3. Rosettes. — For decorated spaces that require 
rosettes to finish central or converging points, as in ray 
plaiting, etc., it is desirable when possible to use a rosette 
that matches the edging. Thus, with shirred edging the 
shirred rosette should always be used. To make this 
rosette, secure a square piece of the material used in the 
edging, usually a square cut from the width used in shirring 
the edges. However, the larger the square, the larger and 
more full can the rosette be made. 



Fig. 17 


First, plait one end of this piece of material and then tack it 
securely with the ends pointing toward the center, as shown 
in Fig. 15; next, plait the other end similarly and tack it down 
with the end also toward the center and just touching the 
other, forming a loop of the material, as will be seen being 
formed in Fig. 16. Then open out the goods in the loop, as 
illustrated in Fig. 17. Lay each side edge in plaits and 




16 


BACKGROUNDS 


§3 



Fig. 18 




















§3 


BACKGROUNDS 


17 


tack it under next to those already fastened. The result will 
be a loose, baggy puff, as will be seen in Fig. 18. Now, 
work this down into even shirr puffs, as similar work is done, 



Fig. 20 

and as further illustrated in Fig. 19. Secure as formed 
by driving or sticking pins in the usual way. 

The result is a shirred rosette, as shown in Fig. 20, and as 
will be seen properly used in Fig. 14. 






























































































BACKGROUNDS 

(PART 4) 


PUFFINGS — (Continued) 


BAEE PUFFINGS 

1. Edges. — Another form of edge trimming is known as 
ball puffing, so called because it resembles rows of crinkled 
balls. It is easily and quickly executed after one has acquired 
the knack, and is probably the prettiest and most attractive of 
all edges when well done. It is used to trim all kinds of out¬ 
lines, such as frame and space edges, panels, and dividing 
lines between widths, as in wave plaiting, etc. 



A half width of material is usually sufficient, the same as 
in the shirred edging, though of course there is no absolute 
rule and the width may be varied to suit the taste or the 
individual trimmer’s notion as to proper fulness. 

For notice of copyright, see Page immediately following the title page 
24 










2 


BACKGROUNDS 


§4 


First, lay one end of the material into plaits, as illustrated 
in Fig. 1, and attach the same, either with pins or tacks, to 
a starting point, usually one corner of the work to be edged, 
as shown in Fig. 2. Then plait across again, about 6 inches 



Fig. 2 



Fig. 3 

farther along, as also shown in Fig. 2. These plaits should 
be as narrow as can be conveniently made, not over i inch 
in width at most. This is necessary in order to give 
neatness and distinctness to the puffs. When the second 












§4 


BACKGROUNDS 


3 




Fig. 4 Fig. 





























4 


BACKGROUNDS 


§4 





































§4 


BACKGROUNDS 


5 


plaiting is completed, form a loop of the running plaits, 
using the width of the first three fingers of the left hand as 
a gauge, as illustrated in Fig. 3. In this way all the loops 
may be made of a uniform height and will accordingly open 
up into evenly sized puffs. 

Another important point is to see that the spaces between 
the fastenings are about equal throughout; otherwise, there 
will be much irregularity in the size and shape of the finished 
puffs. Continue making loops ahead, as shown in Fig. 4, 
until the piece of goods in hand is used up. Any surplus, 



Fig. 8 


not sufficient for an additional puff, should be cut off near 
the fastening, as illustrated in Fig. 5. Then cross-plait the 
end of another piece and bring it to the finished end, as 
shown in Fig. 6. These ends should overlap slightly and 
the new piece fastened by driving the pin or tack through 
both ends. Proceed to form loops as before. 

To properly open out the loops into puffs, insert the 
middle finger of the left hand through a loop, as illustrated 
in Fig. 7. Then secure the under edge of the goods and 
draw it over the end of the finger, as shown in Fig. 8. 










6 


BACKGROUNDS 


§4 


Crease the material between the thumb and forefinger of 
the right hand as it is drawn out, as may be noted in 
Fig. 8. This will cause the puff to stand up well and be 
distinctly outlined from its neighbors. Continue to thus 
draw out the goods until all the central portion between the 
fastenings has been drawn out of the plaited form and 



Fig. 9 


it comes up into a crinkled, semicircular form, as is clearly 
shown in Fig. 9. Fig. 10 shows a ray _ plaited frame finished 
with this style of edging, and also how the finished work 
should appear. 

2. Interlacing. —A very beautiful edging is made by 
using material of two contrasting colors, after the manner of 








§4 


BACKGROUNDS 


7 


ball puffing, but by intertwining them, making puffs of each 
color alternately and crossing over each time. 

Begin as illustrated in Fig. 11. The first loop is shown 
being made of the white goods. These loops must be about 
double the height and length of those ordinarily used in ball 
puffing; because, in passing under each other, considerable 
length and height is taken up or lost. After a loop of one 
color is formed, make the next loop of the other color, and 
so on, alternating until a series of loops are made, forming 
a twist as seen in Fig. 12. Then open out the loops one 
after the other, as shown in Fig. 13. 



Fig. 10 

The result properly executed should appear as illustrated 
in Fig. 14. 

To secure the best effect, the puffs should be drawn out at 
a slant with the line of puffing, so as to give each the bias 
appearance seen in Fig. 14. 

3. Rosette. —Associated with ball-puff edging is also 
a suitable rosette, which is constructed of two puffs and is 
made in about the same manner as the puffs are made in the 





8 


BACKGROUNDS 


§4 



Fig. 11 


Fig. 12 



















§4 


BACKGROUNDS 


9 



Fig.13 


Fig.14 



















10 


BACKGROUNDS 


§4 


edging. The only difference is in the preparation and the 
shaping out. The first operation is illustrated in Fig. 15, 
and is the usual cross-plaited end of half-width material, 
which is turned under toward the central point just the 
same as in the shirr-puff rosette. Now form a loop, as 
in ball puffing, but, instead of using a space, fasten it on the 
central point and against the turned-under first end, as shown 
in Fig. 16. Cross-plait again, and then ascertain the exact 



Fig. 15 


length required for the second loop and cut off the surplus, 
as illustrated in Fig. 17. Now pass the end under and 
against the middle fastening, and pin or tack it securely. 

The work will now appear as seen in Fig. 18. Figs. 19 
and 20 show the drawing out of the first loop, which is done 
in a horizontal half circle, instead of at right angles with 
the surface of the decoration. This is shown in Fig. 21, 




§4 


BACKGROUNDS 


11 



Fig. 16 



Fig. 17 











12 


BACKGROUNDS 


§4 





Fig. 18 



Fig. 19 






















§4 


BACKGROUNDS 


13 


which also shows the start for the drawing out of the second 
loop. This is done by drawing the cloth edges toward the 
straight side of the first puff. When the two are brought 
together, and the whole touched up, so as to work out all 
irregularities, they form a fine, even rosette, as illustrated in 
Fig. 22. 

This form of rosette should always be used for center 
decorations whenever ball puffing is used for the trimming 
of the edges or outlines. It may be seen used in its proper 
connection by referring to Fig. 10. 



Fig. 20 

FULLED PUFFING 

4. Edge Trimming. —This is the simplest and easiest 
of all shirring for the trimmer, because the material has to 
be machined, and is therefore prepared by the sewers of the 
alteration department, or by some other branch of the female 
help about the store detailed for the purpose. The material is 
first cut into suitable lengths; these are, in turn, torn length¬ 
wise into strips 4 or 5 inches in width. As much of the ma¬ 
terial used for this purpose comes in yard widths, it is usually 




14 


BACKGROUNDS 


§4 



Fig. 21 



Fig. 22 



















§4 


BACKGROUNDS 


15 



Fig. 23 



Fig. 24 





























16 


BACKGROUNDS 


§4 


torn into eight strips, by first halving the whole piece and 
afterwards halving the halves and quarters. These strips are 
then sent to the machines where the edges are sewed together, 
forming long, tubular pieces of cloth. They are then 
given to a boy to be turned. This is a difficult operation 
without previous instruction, owing to the length and nar¬ 
rowness of the tubes. Fig. 23 shows the best way to accom¬ 
plish the turning. Secure an ordinary window-shade stick, 
or a stick of similar dimensions in case a shade stick is not 



Fig. 25 

procurable. Then overlap one end of the stick and one of 
the material about 6 or 8 inches, as will 'be observed in 
the figure. Retain this overlap by holding both stick and 
material with the right hand, as shown, and then strip the 
material over both, as is shown begun in the figure. This will 
start the goods drawing easily on the stick, as will be seen 
in Fig. 24, and at the same time it will retain the end of 
the tube securely over the end of the stick until the tube is 
completely turned, when the stick can be easily shaken or 





§4 


BACKGROUNDS 


17 



Fig. 26 


Fig. 28 


























18 


BACKGROUNDS 


§4 


pushed out. This shirring can be made up on sticks, tape, 
or twine, and used accordingly. In the illustrations a shade 
stick was used. The material is first drawn quickly on the 
stick, as illustrated in Fig. 25. Afterwards it is evenly dis¬ 
tributed throughout the entire length of the stick until it 

appears as shown in Fig. 26. 
Make up as many sticks in this 
manner as is required. This 
shirring can be used as an edge 
trimming by laying the trimmed 
stick along the edges and then 
securing it by driving two or 
three pins, here and there, 
through stick and material; or, 
it can be used for fancy, shirred 
latticework. 

When fulled on a string or 
tape, it can be used draped in 
festoons, the same as cords and fringes, and when made 
up of bright-colored materials, it can be formed into very 
beautiful and striking effects. The tubes should be made up 
from 2i to 3 times the length 
of the sticks or tapes to be 
shirred. 

5. Rosette, Scroll, 
and Wreath.— To make a 
rosette with the fulled style 
of puffing, secure a piece of 
wire 2 or 3 feet in length, 
according to the size of 
rosette desired. Ordinary, 
covered, electric-light wire 
is best for this purpose, 
because the copper wire used in electric lighting is extremely 
soft and pliable, and is practically devoid of spring qualities 
or recoil. It will therefore retain any shape given it better 
than other kinds of wire. 



Fig. 30 



Fig. 29 






§4 


BACKGROUNDS 


19 


First run on the fulled puffing-, good and thick, as illus¬ 
trated in Fig. 27. Distribute it as evenly as possible through¬ 
out the entire length of the wire; then begin to roll it up in 
a coil from one end, as indicated in Fig. 28. When rolled 
up in a close coil, tuck the last end in close, so as to give 
the whole a neat and as perfectly circular form as possible. 
If properly and carefully executed, the result will appear as 
illustrated in Fig. 29. 

This kind of wire and fulled puffing may also be used in 
other decorative forms. A very handy and serviceable use 
for this combination is in the formation of the various styles 
of scrolls, after the manner indicated in Fig. 30. These 



Fig. 31 


scrolls are serviceable in a number of ways in general 
designing; as, for instance, corner decorations for frames, 
scroll outlines for arches, etc. 

Still another use is the formation of puffed loops or 
wreaths, illustrated in Fig. 31. By using long wires, this 
combination may be formed into a series of loops or fes¬ 
toons, after the manner of festooning cords, etc. This form 
of decoration may also be accomplished with the puffing 
fulled on twine or tape. 

Fulled on sticks, it will also be found of excellent service 
in latticework. 







20 


BACKGROUNDS 


4 


PASTED PUFFING 

6. Fetters and Figures.—Pasted puffing is the one 
most commonly used in the decoration of large letters, 
figures, or other characters intended as parts of some 
general design or decoration. Some trimmers go so far as 
to use it for background and other very large space puffing, 
claiming that it is quicker than the other methods. This is 
perhaps true, but still it can hardly be recommended for 
general use on account of the difficulty to maintain the 



Fig. 32 


cleanliness and freshness necessary to good results. How¬ 
ever, when cardboard or other frail material that would 
not admit of the use of pins or tacks, for the reason that 
there is not sufficient body to afford them a secure hold, is 
used, pasted puffing will be found very useful, and in fact 
indispensable. Such is the case in the puffing of cardboard 
letters and figures when used to designate the occasion to 
which a given decoration is intended to call attention; as, for 
instance, Spring Opening, Easter Greeting, Merry Christmas, 




§4 


BACKGROUNDS 


21 



Fig. 33 



Fig. 31 











22 


BACKGROUNDS 


§4 



Fig. 35 



Fig. 36 







BACKGROUNDS 


23 




Fig. 37 



Fig. 38 














24 BACKGROUNDS §4 

Fall Opening, Happy New Year, etc. The method as used 
for these purposes will be considered here. 

It is first necessary, of course, to have the forms and 
material ready. The material should be torn in long strips 



Fig. 39 


OPENING 

1902 


Fig. 40 

about twice the width of the surface to be puffed. Begin by 
applying the paste or mucilage, as shown in Fig. 32, to a 
moderately sized space —about as much as will not dry before 
the shirring can be accomplished. 
















§4 


BACKGROUNDS 


25 


This is done by gathering the material into crinkled puffs, 
in the usual way, as illustrated in Fig. 33. Then hold up 
the material, as seen in Fig. 34, while applying the paste to 
another section of the surface, and proceed with the puffing, 
as before. Proceed in this manner until the whole surface of 
the letter or figure is completely puffed, as shown in Fig. 35. 
When gathering the crinkles in this kind of puffing, it is 
necessary to wait a few seconds, with each lot gathered, 
until the paste has had a chance to penetrate and adhere to 
the underfolds of the crinkles. Puff another form while the 
preceding one is allowed to dry, which will permanently 
secure the face puffing. When thoroughly dry, cut away the 
surplus material, as shown in Fig. 36, to within about i inch 
of the outline edges of the form. Now turn the form face 
down and paste the edges of the material over on the back 
of the form, as shown in Fig. 37, and finish by putting on 
enough paste to saturate the material where the shirring 
causes it to come over in more than one thickness. This 
will fasten all thicknesses by causing them to adhere to one 
another while the under one sticks to the form. This part 
of the work is illustrated in Fig. 38, and is also the finish¬ 
ing touch. 

The decorated letter will then appear as shown by the 0 
in 1902, Fig. 39, and the O in opening, Fig. 40. 

The effect thus obtained, when all the forms are trimmed 
in bright color and in harmony with a decoration, is very 
striking and pleasing. 

Forms thus puffed are further embellished by the addition 
of foliage and flowers, each being entwined with vines and 
studded with the flowers. 

Sometimes such forms are entirely covered by leaves or 
flowers, thus making floral letters and figures. The flowers 
or leaves are put on after the manner of shingles and held 
in place by stitching. 
















































































BACKGROUNDS 

(PART 5) 


SMOCKING, TILING, PANELING, AND 
DENIMS 


SMOCKING 

1. Material.—Smocking is a method of decorating- 
backgrounds and covering various decorative forms that is 
not as commonly used as its simplicity and economy in the 
matter of material would seem to justify. The material 
used is about one-fifth larger, both ways, than the space to be 
covered, depending somewhat on the width of plait used in 
preparation. The amount of goods must therefore be judged 
accordingly. Since the material generally used for this 
purpose is comparatively inexpensive, it will save time and 
trouble to allow plenty of goods for fulness and trim away 
the surplus. 

For covering the larger spaces in white, sheeting is very 
often used, as it can be had in sufficient width and length to 
require no piecing, thus avoiding the necessity of seams. 
But, since colored goods do not come in extreme widths, 
they have to be cut in proper lengths and then seamed 
together, in order to secure a sufficient area of cloth. 

2. Plaiting.— Lay the material in plaits, as illustrated 
in Fig. 1, if the piece is comparatively narrow; if the 
material is wide, the work should be done by two per¬ 
sons, one at either end of the plaits. Care must be 
taken to keep the plaits an equal width and straight with 

For notice of copyright, see Page immediately following the title page 
§5 




2 


BACKGROUNDS 


§5 



Fig. 1 



Fig. 2 











































BACKGROUNDS 


3 




Fig. 3 



Fig. 4 


























4 


BACKGROUNDS 


§5 



— 


... .. ■ 








Fig. 5 



Fig. 6 




















§5 


BACKGROUNDS 


5 


the weave of the goods. After having plaited the whole 
piece, it then forms a stack of plaits similar to that seen 
in Fig. 2. 

Now take a rule or yardstick and mark off spaces on the 
front edge of the plaits, as illustrated in Fig. 3. Use an 
ordinary pencil for light- 
colored goods, and mark 
lightly; use tailors’ crayon 
for dark material. These 
spaces should be in propor¬ 
tion to the width of the 
plaits —about half again as 
much. 

In Fig. 4 the edges of the 
plaits are shown heavily 
marked with crayon. This 
was done in order that the 
markings would be seen 
plainly in the illustration. In 
practice, these marks must 
be as faint as practicable and 
yet indicate the points for 
the stitches. In stitching, 
use thread that matches the 
goods in color. 

Figs. 4, 5, and 6 illustrate 
the method and plan of the 
stitching. It will be noticed 
that the plaits are stitched in 
pairs at every other mark, 
alternating the fastening 
points as the pairs change. 

Thus, the first and second 
plaits are stitched at every 
other mark, as shown in Fig. 4; then the second and third 
plaits are fastened together at marks midway between the 
fastenings of the first and second plaits. The third and 
fourth plaits are fastened together on the same line of 






6 


BACKGROUNDS 


§5 


marks as the first and second plaits, as shown in Fig. 6, and 
the fourth and fifth plaits on the same lines as the second 
and third. Proceed in this way, alternating the fastenings 
until all the plaits are stitched together and the work appears 
as seen in Fig. 7. When this work is spread out over the 
space to be covered, it should appear as illustrated in Fig. 8. 



Fig. 8 


It may then be tacked at the edges and finished with a suit¬ 
able edge trimming that will conceal the tacks. When it is 
used on frames, the edges can be tacked over on the back side 
of the frame, in which case no edge trimming will be needed. 


TIDING 

3. Advantages. —Tiling presents a simple but very 
effective form of decoration, and is more commonly used 
as a treatment for floor spaces in open trims, as in the case 
of shoes, hats, millinery, etc., in which the arrangement of 
the merchandise does not interfere greatly with a view of 








o 


BACKGROUNDS 


7 



Fig. 9 



Fig. 10 









8 


BACKGROUNDS 





Fig. 11 



Fig. 12 
















§5 


BACKGROUNDS 


9 


the floor. It is, however, also used frequently as a back¬ 
ground decoration, especially in designs for the display of 
handkerchiefs and other small wares. In many such cases 
the tiles are formed by arrangements and foldings of 
the merchandise being displayed. For instance, it is quite 
easy to produce a tile effect with white handkerchiefs on 
a colored ground. 

4. Construction.—Ordinarily, however, the space to 
be decorated is first covered with a suitable ground color, 
and tiles of white (usually of cardboard or paper) are 
arranged thereon in the manner illustrated in Fig. 9. 



Fig. 13 


Fig. 10 shows a method of fastening the tiles by driving 
small pins at the corners. Another method of securing 
them is by applying a drop of glue on the under side, at 
each corner, which sticks and holds them as they are put on. 

Fig. 11 shows a continuation of the layout begun in Fig. 10, 
which can be extended over any sized space by simply adding 
the tiles in proper order. 

In Fig. 12 is seen the effect produced by ordinary square 
tiles all cut the same size. 

Fig. 13 illustrates the way to finish a tiled space along the 






BACKGROUNDS 


10 


§5 


outer edges. It will be observed that the sides require half, 
and the corners quarter, tiles. 

Designs in tiling are of endless variety, as may be observed 
and studied in linoleum and parquetry, from which those best 
suited to the purposes and taste of the individual trimmer 
may be selected, and used according to the dictates of con¬ 
venience or fancy. The faculty of observation is a most 
important one to the decorator and should be cultivated at 
all times. _ 


PANELING 

5. Advantages. —There is no more fruitful field from 
which to procure designs for background work than that of 
paneling. The possible designs are practically unlimited, 
and range from the very plain and simple to almost any 
degree of elaborateness, limited only by individual ability 
and originality. Paneling is used more or less in all branches 
of the decorative art. Consequently, the observing student 
can almost constantly add to his fund of knowledge along 
this line by simply keeping his eyes open and his mind 
receptive. In mercantile decoration the simpler forms, as 
a rule, are used, on account of the usually limited time 
allowed for the production of the average display. 

6. Materials.—The materials most commonly used are 
muslin, denim, satine, cretonne, burlap, cotton flannel, plush, 
tapestry, wall paper, etc. The panel outlines are generally 
finished with fancy molding, beading, tape, ribbon, lace, or 
puffing, according to the requirements of the designs. 

7. Surface.—First, prepare the surface of the space or 
spaces to be paneled, which must be made perfectly smooth 
and free from all irregularities that would cause the least 
bulge or inequality on the covered surface. In window 
work, it is best to remove all other coverings and their 
fastenings even to the bare woodwork. Then remove the 
permanent moldings. They can be replaced after the plain 
covering is completed, or others more in keeping with the 
design substituted. At any rate, it is absolutely necessary 



§5 


BACKGROUNDS 


11 



1C 

rH 

6 

►H 






















12 


BACKGROUNDS 


§5 


in a perfect job of plain covering 1 to have all obstacles 
removed, as the least wrinkle detracts from the general 
excellence of a section of paneling. 

8. Construction. —The simplest and handiest method 
for the use of trimmers in constructing panels is to measure 
out the panel spaces, drive a small brad part way in at each 
corner, and then outline the panel by running a string along 



Fig. 16 


the boundaries, making one turn about each brad, and then 
securing the string by a half-hitch tie to the brad at which 
the start and finish are made. This operation is illustrated in 
Figs. 14 to 18, inclusive. In laying out a space in diamond¬ 
shaped panels, as shown in Fig. 18, it simplifies the work to 
place a temporary brad at the middle of either side, and then 
draw a twine taut across the space between the two. This 
will afford a central line along which to measure for and 




§5 


BACKGROUNDS 


13 



Fig. 18 



















14 


BACKGROUNDS 


§5 


place the central-corner brads, thus avoiding the necessity 
of making pencil or crayon marks that could not be removed 
and thus mar the result. In the example, the first dis¬ 
tance from the edge is 6 inches to the first brad; the second 
distance is 2 feet, the width of the panels, as shown in 
Fig. 14. The third distance is the full space between panels, 



Fig. 19 


which is 1 foot, and so on across to the opposite side, where 
the last space is again 6 inches, which is the uniform distance 
of all the outer panel points from the edges of the space, as 
will be observed. To be accurate, it is safest to move the 
cross-line to within 6 inches of the top edge and measure 
along it again for the top points of the diamonds. These 
will be 18 inches from the side edges, and just 3 feet apart. 








§5 


BACKGROUNDS 


15 



Fig. 20 



Fig. 21 






16 


BACKGROUNDS 


§5 


Locate the other points in the same way, by the use of the 
cross-line as indicated. The top and bottom spacings are 
obvious, being either full space or panel width, or fraction 
thereof, as required. Now, when the panels for a given 
space are fully and properly indicated, as illustrated in 
Fig. 18, they are ready for the fitting of the molding or 
whatever is selected for the finishing. If molding, a miter- 
box and saw will be required for the cutting of the bias or 
mitered lines necessary for a proper fitting of the molding 
at the corners. Use the miter-box and saw as illustrated in 
Fig. 19, cutting the pieces of molding to the exact measure¬ 
ments between brads. Care must be exercised in cutting the 
slants on the proper side; otherwise, much time and molding 
may be wasted. However, for this work most of the short 
lengths may be used by connecting them by miter joints, cut 
neatly, so that the juncture is not noticeable. When cut to 
the proper length, place the molding as is shown being done 
in Fig. 20, and then secure the same by driving two or three 
very thin brads through the molding into the wood of the 
background. 

When all the panels are fitted with the molding, remove 
the string outlines by withdrawing the temporary brads, as 
illustrated in Fig. 21. The whole space will then appear neat, 
clean, and attractive, as seen in Fig. 22. Fig. 23 illustrates 
the same space treated in the same manner, but in a design in 
which there is a frieze space at the top and rectangular panels 
below. The covering for these examples of panels was plain 
bleached sheeting, which, in itself, with gilt molded panels 
always makes a neat, dainty, and attractive background. This 
covering can be used until the muslin begins to become 
soiled, when the moldings may be removed and the panels 
treated in various other ways. Then, when the moldings are 
replaced, the result is an entirely new decoration, although the 
same design may be used. Besides the diamond and rec¬ 
tangular panels shown, panels may be of round, oval, or of 
irregular design, as, for example, the outlines of the palette, 
shield, and other fancy shapes. Very often these outlines 
are built in front of mirrors, thus forming mirror panels. 


§5 


BACKGROUNDS 


17 



Fig. 22 



Fig. 23 




































18 


BACKGROUNDS 


§5 



DENIMS 

9. Varieties of Material.—Denim is a cheap cotton 
material, woven in imitation of covert cloth, which it so 
closely resembles that it is also known under the name of 
cotton covert cloth. It has become of late a staple decorative 
material, and is now made in a great variety of artistic 
designs of figurings and color shadings, which are marketed 
under the name of art denims. They enter so largely into 
decorative work that they deserve this special consideration, 


Fig. 24 

although the instruction on this subject is equally applicable 
to a number of other materials that are also made in very 
desirable plain and figured effects, and that may be and are 
used in the same or similar ways. Among such are cotton 
flannel, art burlap, wall papers, cretonne, sateens, etc. 
Therefore, this instruction includes the use of these latter 
materials as well as art denims, and should be so noted for 
future service. 

10. Application. —The illustrations show the use of 
denim for panel decoration. If, as here illustrated, denim is 




§5 


BACKGROUNDS 


19 



Fig. 25 



Fig. 26 












20 


BACKGROUNDS 


§5 


used to change the appearance of a previously paneled space, 
remove the molding and mount a piece of the denim, as seen 
begun in Fig. 24, by tacking at the corners. Then cut away 
the surplus material, as shown in Fig. 25, following a line that 
will be covered by the molding when it is in place. When the 
denim is properly trimmed to the panel, drive in the neces¬ 
sary tacks to stretch out all wrinkles and cause the material 
to lie perfectly flat and smooth. Then replace the molding, 
as shown in Fig. 26. Treat the panels, one at a time, in this 
way until the whole space is finished and the result appears 



Fig. 27 

as illustrated in Fig. 27. Various other designs or shapes of 
panels may be successfully treated in the same way. 

Denims also make very good floor coverings, and are very 
largely used for that purpose in display work, affording a 
cheap and very satisfactory substitute for carpet. They are 
also used for covering box pedestals, step fixtures, platforms, 
and other basic supports used in display building. The 
ingenious trimmer will also find a multitude of other uses 
for this serviceable and inexpensive material, as will be 
suggested by time, place, and necessity. 






BACKGROUNDS 

(PART 6) 


STENCILS, OVALS, AND FEESCO 
DECORATIONS 


STENCILS 

1. Advantages.—Stencils afford a rather convenient 
means of background decoration. They are not commonly 
used for that purpose, but nevertheless they afford a very 
satisfactory change from the more conventional styles, and 
when used judiciously, are highly attractive and useful. 
Stencils are best adapted for decorating panel-work designs. 
They come in sectional patterns, as may be noted in the 
illustrations, and large assortments, from which selections 
may be made to suit occasion and taste, are kept on sale 
by all leading paint houses. They are cut with dies in oil 
board, and are very inexpensive, considering the highly 
decorative results obtainable. 

2. Application.—A perfectly flat surface is required. 
It may be of white or colored materials, or painted. In the 
design for the illustrations there was used a plain bleached- 
sheeting ground, with panels outlined with fancy gilt molding. 
Fig. 1 shows a corner section, with the brush ready for use. 
This brush is made especially for the purpose, and should be 
rather thick, with a flat end. Fig. 2 shows how to use the 
sections. They must be set as required, and then held in 
place by temporary tacks, as illustrated. Fig. 3 shows the 
application of the color. This is not done by rubbing the 

For notice of copyright, see page immediately following the title Page 
§6 

















§6 


BACKGROUNDS 


3 
















4 


BACKGROUNDS 


§6 



Fig. 5 



Fig. 6 
























BACKGROUNDS 


5 


















6 


BACKGROUNDS 


§6 


brush over the space as in ordinary painting, but must be 
accomplished by tapping the brush, with an up-and-down 
motion, as is used in stippling; otherwise, the edges of the 
oil board would scrape quantities of paint from the brush, 
which would run under the stencil and thus blur the design. 
Fig. 4 shows the border used to connect the corner designs 
in the panels. Fig. 5 illustrates the frieze design and its 
application, and Figs. 6 and 7 show sectional designs for 
the decoration of intermediate spaces. 


, Wl// WV/ 'Hi/ K 



Fig. 8 


The elegant effect of a background done with stencils is 
illustrated in Fig. 8. In windows where there are end 
spaces, these must be carried out to match, and as a continu¬ 
ation of the background; where there is a ceiling space, 
it may be treated with suitable panel decoration to har¬ 
monize with the background design. 




















§6 


BACKGROUNDS 


7 


OVALS 

3. Construction.-There are various means of obtain- 
ing correct oval outlines, usually accomplished by means of 
drawing instruments and calculations. The trimmer, how¬ 
ever, is generally too hard pressed for time to be bothered 
with technical devices, and therefore requires a simple and 
direct means for obtaining the same results by the employ- 



Fig. 9 

ment of such materials as he has constantly at hand. The 
method most commonly employed requires only a piece of 
string, a pencil, and a few pins or brads —things that are 
always in the trimmer’s working outfit, and therefore always 
handy. The illustrations show this method as applied to 
panel work, although for all other purposes it is used in 
essentially the same manner. First, lay out points a uniform 













8 


BACKGROUNDS 






Fig. 10 Fig 11 



























§6 


BACKGROUNDS 


9 


distance from the middle of all sides, using a rule for that 
purpose, as illustrated in Fig. 9. In the subject of the illus¬ 
trations the distance was 6 inches from the nearest points to 
the sides of the rectangular panels, as seen in Fig. 13. At 
one of the side points drive a short brad, as will be noted in 
the right field of Fig. 11. The other two brads, seen in 



Fig.12 


the same figure, are regulated by trial settings, until a loop 
of string that will encircle the three points, as shown in 
Fig. 11, will, when extended, reach exactly to the correspond¬ 
ing top or bottom limits of the oval, as illustrated in 
Fig. 10. When knotted to this exact length, the string is 
ready for the drawing of the oval. This is done by placing 
the loop about the brads, and inserting within the loop the 









10 


BACKGROUNDS 


§6 


point of a pencil, which is then drawn around the brads, 
sliding along and following the limits of the loop, as illus¬ 
trated in Fig. 12. Continuing all the way around produces 
the ovals as seen in Fig. 13. To make an oval frame, place 
a number of boards side by side, and strike thereon, by this 
same method, two ovals, one within the other, at a distance 



Fig. 13 

equal to the required width of frame, and then cut out and 
join the sections the same as in scroll cutting. Elliptical 
arches are laid out in the same way as the oval frame. 
They may be made by dividing an oval frame in two equal 
parts following its long axis. 


FRESCO DECORATIONS 

4. Tlie Surface.—While frescoing is one of the oldest 
methods of mural decoration, it has only recently been 
brought into use in the decoration of backgrounds for the 
display of merchandise. Comparatively few trimmers have 
made much use of frescoing, and fewer still have an adequate 
conception of its possibilities for the production of beautiful 












§6 


BACKGROUNDS 


11 



Fig. 14 



Fig. 15 















12 


BACKGROUNDS 


6 


and artistic background designs and decorations. The first 
requirement in the process of frescoing is a smooth, even 
surface, similar to the ordinary plastered walls of a room. 
Since all or the majority of window backs are constructed of 
woodwork in which there occurs more or less grooves and 
irregularities, it is necessary to provide a suitable surface for 
frescoing. This is done by clearing away all obstructions 



Fig. 16 

to a plane surface, such as moldings, old pins, tacks, nails, 
screw eyes and hooks, fixture sockets, etc. When thoroughly 
cleared, cover the surface with a cheap, unbleached sheeting. 
See that the cloth when in place is free from wrinkles, per¬ 
fectly smooth, and as tight as possible. As sheeting is 
manufactured in widths that range, by quarters of a yard, 
from 1 to 3 yards, it is generally possible to secure the goods 














BACKGROUNDS 


13 





Fig. 18 




























14 


BACKGROUNDS 




Fig.19 



Fig. 20 
















§6 


BACKGROUNDS 


15 


in pieces large enough to cover average-sized background 
spaces by simply tacking around the edges. However, in 
cases where the space is wider each way than the widest 
sheeting, select the widths so that the unavoidable seams 
may come along lines that are to be finished with the mold¬ 
ings used in a given design. In this way the appearance of 
seams in the finished work may be avoided. After the sur¬ 
face has been properly and successfully covered, dampen the 
cloth all over with a sizing made of a thin solution of “size,” 
glue, and water. “Gilders’ whiting,” though not absolutely 
necessary, improves the painting surface, if added to this 
sizing. This will thoroughly shrink and set the cloth, so 
that it will afford a surface for painting equal to the best 
grade of plastering. The following example of this style of 
work, as illustrated, was a tinted, hand-relief decoration. 

5. Tools and Materials. — The outfit necessary for a job 
of this kind is illustrated in Fig. 14. The paint used for 
tinting is cold-water alabastine, and the relief plaster is an 
extra-heavy modeling powder of the same, both of which 
come in 5-pound packages, as seen in the illustration, and 
are made ready for use by simply adding cold water accord¬ 
ing to the very explicit directions on each package. The 
bucket is used for mixing. The cone is of closely rolled, 
stiff paper, and serves very well for measuring the propor¬ 
tions of both powder and water. The rubber bulb and brass 
tips are the contrivances for working on the relief designs, 
as will be seen in the succeeding illustrations. 

6. Frescoing. — First, line out a diagram of the coloring 
design and then apply the tints selected for the different 
spaces, as illustrated in Figs. 15 and 16. 

Fig. 17 shows this background with the first color properly 
applied, and Fig. 18 shows it with both colors on, and ready 
to receive the relief decorations. 

Figs. 19 and 20 illustrate the manner of using the tool for 
relief lines, and Figs. 21 and 22 show its use for making 
leaves, ribbons, and other parts of relief. Each bulb has 
adjustable tips suitable for each style of relief work. 


16 


BACKGROUNDS 




Fig. 21 




























§6 


BACKGROUNDS 


17 



Fin. 23 



Fig. 24 




















18 


BACKGROUNDS 


§6 


The completed section of background is illustrated in 
Fig. 23, which affords an excellent idea of the possibilities 
of frescoing for background work. 



Besides the hand relief, sectional relief designs may be 
selected and bought ready made in molded plaster. These 
may be had in great variety and similar to the designs shown 








§6 


BACKGROUNDS 


19 


in Fig. 24. These are mounted on the tinted ground, follow¬ 
ing any given design, by pasting or gluing them to the sur¬ 
face. Note that the larger design pieces are mounted on 
cheese cloth, so as to keep them from breaking and falling to 
pieces. Before mounting these pieces in decoration, the 
surplus cloth must be trimmed or cut away, as indicated 
by the extra wreath, torch, and shell shown in the figure. 



Fig. 27 

Relief is also furnished in papier mache, like the samples 
illustrated in Fig. 25; also, in metals, such as zinc and tin. 
But the cost will be found to increase in the order in which 
the different kinds of relief have been mentioned. The hand 
relief is the least expensive, but, of course, requires greater 
skill in application. 












20 


BACKGROUNDS 


§6 


7. Stippling. —Another feature of frescoing is stip¬ 
pling. This may be done in various ways. One method 
is to paint the surface to be stippled and also a sheet of stiff 
paper the same size as the surface, as illustrated in Fig. 26. 
Then press the paper on the space by rubbing hard and 



Fig. 28 

thoroughly with the hand, as shown in Fig. 27, so that the two 
painted surfaces adhere to each other at all points. Now 
draw away the paper, from the top downwards, as illustrated 
in Fig. 28. This will produce a stippled surface, as seen in 
Fig. 29. The heavier or thicker the paint, the higher the 






§6 


BACKGROUNDS 


21 


stippled effect, or relief, will rise from the surface of the 
space thus decorated. 

Another method of stippling is shown in Fig. 30. A block 
of wood is used as seen. First give its surface a good, 



heavy coat of the paint, and then press it repeatedly on the 
surface, beginning at an upper corner. Draw the block off 
each time from the top downwards. Go over the whole 
space to be stippled in this way. 

Stippling may also be executed by patting the painted 










22 


BACKGROUNDS 


§6 



surface with an up-and-down motion, using either a paint 
brush or a piece of cloth rolled into a ball. Stippling makes 
a very good surface treatment for panels, column shafts, etc. 

8. Pointers.— Get a sample color card showing the 


different tints of alabastine; this can be had in almost 
every paint store. Make selections from this card and order 
accordingly. As a rule, follow the directions on the package, 
but one’s own judgment and experience counts for much. If 


Fig. 30 














§6 


BACKGROUNDS 


23 


the paint is too thick to work easily, add more water; if it is 
thin and has a tendency to run, add more dry color. 

When doing hand relief work, the bulb and tubes must be 
thoroughly cleaned at each filling. It it also best to mix up 
enough for only one filling at a time. A good plan is to 
have two bulbs and have an assistant clean and fill one while 
the other is being used. A long bristle brush is used for 
cleaning the insides of the tubes. Run the bristles back and 
foith through a tube while holding it under water. 

A special preparation called “modeling alabastine” must 
be used for relief work. 

All mixings should be used immediately and applied 
quickly to get good results. 

Manila paper that has previously been oiled or shellaced 
is especially good for use in paper stippling. 

Brush or cloth produces light stippling. Relief work may 
be heightened in effect by high-lighting with gold, silver, or 
copper bronze. The simplest way to do this is to dip a small 
sponge in the liquid bronze and rub it over the relief designs; 
thus, the high points will all receive a touch of bronze. 

When desired, the whole surface of the relief work may be 
bronzed or colored. A good effect is produced on a stippled 
surface by dusting it before it is dry with dry bronze or 
flitters. The best way to do this is to dip a dry brush into 
the powder and then blow the powder off on to the wet 
surface. 

To mount molded plaster designs for temporary work, a 
heavy flour paste will be sufficient; but for more permanent 
work, fish glue should be used. As this glue is of a dirty 
color, it is best to mix whiting or plaster of Paris with it, so 
that any ooze or daubs caused in the mounting and handling 
may not discolor the relief designs or painted surface. In 
any case, great care and cleanliness should be observed in 
producing fresco decorations. 




BACKGROUNDS 

(PART 7) 


WALL-PAPER DECORATIONS, SCROLL 
MAKING, AND SPECIAL FIXTURES 


WATT-PAPER DECORATIONS 

1. Varieties of Paper. —After fresco decorations have 
become faded, soiled, or worn out, the relief work may be 
scraped off and the same surface redecorated with wall paper. 
There is one kind of wall paper that combines beautifully in 
fresco decorations. It is called onyx paper , and comes in 
sheets 24 inches by 30 inches in size. 

A full sheet and a sample design are illustrated in Fig. 1. 
It is manufactured in several designs and shadings —eight 
styles in light yellowish colorings, four in red, and two in 
green. The imitation of onyx is extremely realistic, and 
easily deceives the observer. 

In fresco work, if the space surrounding plain tinted or 
stippled panels is papered with a blend of onyx paper, a 
beautiful effect is produced. Onyx paper is also suitable for 
decorating the shafts of columns. When these ornamented 
shafts are used in conjunction with bronzed plaster-cast caps 
and bases, the appearance is that of real onyx columns, and 
very pretty. 

To the practicing trimmer, many other decorative ways of 
using this paper will be suggested in the ordinary course 
of designing and trimming. 

For notice of copyright , see page immediately following the title Page 




2 


BACKGROUNDS 


§7 


2. Panels. — Fig. 2 shows a design in ordinary wall-paper 
decoration, suitable either for a background or a ceiling effect. 
This ground is first papered in the ordinary way with a plain 
color paper; then the design paper is laid on in strips, as 
seen, after which the lines are finished with a white or gilt 
half-round molding. 



Fig. 1 


Fig. 3 illustrates the same design with a figured paper 
foundation. On small grounds such work may be carried 
out without pasting on the paper, if care is taken in handling 
and cutting the edges straight so that they will fall under 
the molding when it is in place. The molding will then hold 









BACKGROUNDS 


3 




Fig. 2 



Fig. 3 





































4 BACKGROUNDS § 7 

the paper securely. This same work may be done in cloth 
or in combinations of cloth and paper. 

The possibilities of background designing with wall papers 
is illustrated in Fig. 4, in which the use of plain, figured, 
and border papers and molding is clearly indicated. 

Onyx paper may be used in some color combinations in 
place of either the plain or figured papers. 

Wall-paper backgrounds are also much used in exact repre¬ 
sentation of various room decorations for the display of furni¬ 
ture. For instance, in displaying parlor, dining-room, library, 



Fig. 4 


or boudoir furniture, stretcher frames are made to fit the 
background. These frames are covered with sheeting and 
are papered to harmonize with each style of furniture, which 
is then placed in display in as nearly the intended positions 
and use as possible. 

Departmental display rooms are constructed in this same 
manner in all up-to-date furniture departments. These rooms 
are arranged en suite, so that shoppers may pass through 






























§7 


BACKGROUNDS 


5 


from one room to another and inspect the various sets of 
furniture as they would appear in their own homes. 

Very often the decoration of these rooms is very complete, 
even to the carpets, hangings, and suitable pictures, as it 
really always should be. Sometimes denims take the place 
of carpets, and few hangings are used. 


SCROLL MAKING 

3. Scrolls.-Perhaps the most useful articles employed 
in decorative equipment are scrolls, which are constructed 
of various designs and material. They are extremely useful 
in original designing, and may be worked into an almost 
endless variety of combinations. Therefore, an assortment 
of different shapes and sizes should always be kept on hand, 
and these should be constantly added to, because a condition 
in which one would have too many of them is scarcely con¬ 
ceivable. A general knowledge of their construction and 
the manner in which they are used is indispensable. 

Every trimmer should make and preserve a collection of 
scroll patterns, as they will always be found useful and 
handy. They should be drawn on and cut from stiff paper, 
as illustrated in Figs. 5 and 6, and kept in some suitable 
place or box provided for the purpose. For small designs 
or outlining, these may be reproduced in heavy cardboard, 
but for the larger and more elaborate decorations, such as 
scroll arches, etc., they should be made of wood. 

4. Construction of Scrolls. — To construct scrolls 
quickly for temporary purposes, use i-inch pine or poplar 
lumber. Place a sufficient number of boards together to 
accommodate the whole pattern. Hold together, for marking 
out the scrolls, by temporarily nailing on cleats, as shown in 
Fig. 7. Drive these nails only far enough in to hold. Leave 
the nail heads project so that they may be caught in the nail 
claw and thus easily removed. 

Mark out the scroll design, using the pattern, as seen in 
Fig. 8. It is well, however, to place the pattern close to 



6 


BACKGROUNDS §7 



Fig. 5 



Fig. 6 















§7 


BACKGROUNDS 


7 


the edge and end of the lumber, and by reversing the pattern, 
manipulate it so as to get the largest number of scrolls out 
of a given amount of lumber. Now remove the cleats that 



Fig. 7 



Fig. 8 

hold the boards together, and proceed to saw out the various 
sections marked on each separate board, as illustrated in 
Fig. 9. Use a compass saw in the manner shown, carefully 


















8 


BACKGROUNDS 


§7 


following the lines. After all the sections have been sawed 
out, assemble the parts of each scroll in proper order as will 
be seen in Fig. 10. Have handy a number of small pieces 
of wood 4 or 5 inches long by li inches wide and i inch 
thick to use as cleats to connect the parts. A number of 
these will be seen near the center of the illustration. 

Now bring the parts together, and nail on the cleats, as 
shown in Fig. 11. When the sections are all cleated together, 



Fig. 9 

the back of the scroll will appear as shown in Fig. 12, and 
the front as shown in Fig. 13. As mentioned above, scrolls 
thus made are only suitable for temporary work, and must 
be handled carefully because of the short grain of the wood 
at certain points, across which they are very easily broken. 
To avoid this mishap when the scrolls are to be kept as so 
much decorative paraphernalia, it is necessary to cut out 
each scroll in duplicate — the first one lengthwise of the 




7 


BACKGROUNDS 


9 


boards, as shown in Fig. 8, and the second crosswise, as 
shown in Fig. 14. Then the two are assembled, glued, and 
nailed together. No cleats are required, because the sections 
of one cross the joints of the other. This arrangement 
also crosses the grain of the wood, so that where one is 



Fig. 10 



Fig. 11 

weak the other is strong, thus rendering the whole almost 
unbreakable. 

When the matter of expense is no object, so long as the 
best results are obtained, it is best to have scrolls cut and 
made at a mill. Have them cut in triplicate —one part of 








10 


BACKGROUNDS 


§7 



Fig. 12 



Fig. 13 



Fig. 14 




























§7 


BACKGROUNDS 


11 


i-inch and two parts of i-inch lumber. The i-inch form 
is used for the middle, with a i-inch one on either side. 
This causes the grain to cross in three directions, and is 
said to prevent warping as well as breakage. 

Unlimited forms and uses of scrolls may be acquired 
(which will also suggest other and original applications) by 
carefully noting and remembering designs observed in wall 
papers, grilles, carpets, architecture, etc. 



Fig. 15 


SPECIAL FIXTURES 

5. Useful Ornaments. — In designing framework and 
special features for display settings, there are a large number 
of well-known shapes that are used either singly as center- 
piece designs, such as harps, anchors, etc., or in combination 
with others in the construction of special or general features, 
such as arches, latticing frames, etc. 

Some of the best-known and most commonly used shapes 
and sectional parts, as employed in general designing are 
shown in Fig. 15. In this figure is shown the correct 







12 


BACKGROUNDS 


§7 



Fig. 16 



Fig.17 













7 


BACKGROUNDS 


13 



Fig.18 



Fig. 19 













14 


BACKGROUNDS 


§7 


outline and shape of each piece, although the sizes may be 
varied from the small ones cut from cardboard to any size 
required or desired, which may be constructed of wood or 
other substantial material. The same proportions, however, 
should always be maintained. 

Fig. 16 shows the segments of a circle as found in Fig. 15, 
combined so as to form the ribs for cross-arches, domes, or 



Fig. 20 

canopies, the lower ends, of course, to rest on the tops of 
columns or other framework. 

Fancy scroll designs constructed from parts illustrated in 
Fig. 15 are also to be seen in Figs. 17 and 18. In the latter 
figure the two different styles of columns are shown merely 
to indicate a choice; of course, the different kinds are not to 
be used together as shown. 

Examples of scroll framework for lattices or tarlatan 
decorations are illustrated in Figs. 19 and 20. 








BACKGROUNDS 


15 


The different parts in such designs are held together by 
cleats being screwed or nailed across them at the points of 
juncture. Note that these frames have been neatly wrap- 
covered. 

b. Frameworks. — A suggestive framework design, 
which was used for a stage decoration, but which might be 
used in other connections, is illustrated by Fig. 21. 

From fancy grilles and fretwork are produced some of the 





Fig. 21 

most beautiful settings for displaying merchandise. Figs. 22, 
23, and 24 show three elegant designs with suggestions for 
draperies. 

These are regularly manufactured, for selection or to order. 
But the simpler designs are easily imitated in heavy card¬ 
board or light lumber, with the aid of a sharp knife or scroll 
saw, after which they may be stained, painted, or bronzed 
to suit any decoration. 









I 

16 BACKGROUNDS § 7 



Fig. 22 
































%'-r 


BACKGROUNDS 


17 


§ 


/ 












































































































































































BACKGROUNDS 

(PART 8) 


LATTICES AND TARLATAN BACK¬ 
GROUNDS 


LATTICES 

1. Materials and Frames.—Lattices are most com¬ 
monly used in the decoration of open arches, though a back¬ 
ground may be, and often is, completely covered with 
latticework. Latticework is simple, and is made up in two 
general styles of open spaces, i. e., square and diamond shape. 
The instruction consists chiefly of illustrations showing the 
different materials used for latticing, how they are applied and 
look, thus requiring very little verbal explanation. 

The first material used is ordinary binding tape. Its appli¬ 
cation and appearance are illustrated in Figs. 1, 2, 3, and 4. 
Latticing material must always be fastened on the back of 
the supporting, or design, frame. Fig. 5 shows the use of 
wood strips. These strips may be decorated by painting 
or by covering with cloth; or, they may be trimmed with 
fulled shirring previous to being put in place, as illustrated 
in Figs. 6, 7, and 8. 

Ribbons or strips of crape paper make very effective 
lattices, and are applied as shown in Figs. 9, 10, 11, and 12. 
The pieces are first attached at one end, as seen in Fig. 9, 
and are then twisted, as shown in Fig. 10, before fasten¬ 
ing the other end. These materials also appear effectively 


For notice of copyright , see page inunediately following the title page 



2 


BACKGROUNDS 


§8 



Fig. 1 



Fig. 2 









BACKGROUNDS 


Fig. 4 













4 


BACKGROUNDS 


§8 



Fig. 5 



Fig. 6 















§8 


BACKGROUNDS 




5 



Fig. 7 
























































6 


BACKGROUNDS 


§8 



Fig. 8 



Fig. 9 




























§8 


BACKGROUNDS 


7 



Fig.10 



Fig.11 















8 


BACKGROUNDS 


§8 


when woven in and out through the crossing strands similar 
to the splints in a basket. 

2. Trimmings. — Fig. 13 shows a lattice trimmed with 
Wistaria vines and blossoms. Artificial smilax also makes 
a beautiful trimming for lattices. This may be further 
embellished by irregularly studding the smilax with flowers, 
about as they would grow on the natural vine. Smilax comes 
in yard lengths, and may, by twisting the ends of the lengths 



Fig.12 

together where necessary, be used to form the lattice, as seen 
in Figs. 14 and 15. 

With no other means at hand, cheese cloth may be 
torn into strips and the torn edges turned back and used 
for latticing; or, different-colored strips may be braided 
into a three-strand plait and used for the same purpose. 
Ribbons may also be used, as shown in Figs. 16 and 17. 
Attention is called to the frame trimming in these illustra¬ 
tions. It is of ruffled crape paper, and its construction will 
be treated later. 






S8 


BACKGROUNDS 


9 



Fig. 13 


































10 


BACKGROUNDS 


S8 



Fig.11 



Fig. 15 





















§8 


BACKGROUNDS 


11 



Fig.16 



Fig. 17 































12 


BACKGROUNDS 


§8 


TARLATAN BACKGROUNDS 

3. Advantages. — Tarlatan is a decorative material 
that, besides having a special usefulness, may also be used 
as a substitute for, and a variation of, a number of the forms 
of application for which cheese cloth is most commonly used; 
for instance, it may be plaited, puffed, festooned, and shirred 



Fig. 18 

almost as readily as cheese cloth, the only difference being 
that tarlatan requires an under color either to match or con¬ 
trast with its own coloring, on account of its being a species 
of net, and therefore very thin, gauzy, and transparent. A 
very common use is in the shirring of floor and ceiling spaces 
that have been previously flat-covered with an appropriate 
color of cambric, thus affording very soft, filmy, and pleasing 
effects. When used as a substitute for cheese cloth, tarlatan 







8 8 BACKGROUNDS 23 

is applied in the same manner as the former, and therefore 
requires no special instruction except that it has to be handled 
with greater care. However, it has very satisfactory and 
resourceful uses peculiar to itself, of which this instruction 
and its illustrations will treat. 

4. Method of Fastening. — Tarlatan is used as a ground 
covering for frames and open arches in which it serves as a 



Fig. 19 


substitute for lattices for the support of vines and flowers. 
For example, a scroll-design framework is used as an illus¬ 
tration. The first operation is, of course, to flat-cover the 
framework with the tarlatan, as shown begun in Fig. 18 and 
finished in Fig. 19. The overlap noticed in Fig. 19 may be 
overcome in two ways: First, by stitching down the center 
with a strong, coarse linen thread, and then cutting away the 
surplus, as was done in the case under consideration, with 












14 


BACKGROUNDS 


§8 


the result as seen along the center line of Fig. 20; or, if the 
trimmer has access to a sewing machine, the pieces may be 
first seamed together and then mounted as one piece. The 
latter plan is, however, not the better or easier one, on 
account of the tendency of the tarlatan to crush and stretch, 
which makes it, at best, exceedingly difficult to overlay 
smoothly, and the larger the pieces, the greater the difficulty. 



Fig. 20 

If possible, it is really better and easier to cover the open 
spaces separately, allowing the joints or tacked edges to fall 
along the lines to be finished with puffing, as seen in Fig. 20, 
in which they are shown finished with ball puffing. 

This plan is very simple when none of the open spaces in 
a design, as often happens, are greater than the width of the 
tarlatan. This, however, was not the case in the design 






BACKGROUNDS 


15 





Fig. 21 Fig. 
















16 


BACKGROUNDS 





Fig. 23 Fig. 24 






























§8 


BACKGROUNDS 


17 


under consideration, in which the central open space of the 
framework will be seen to be larger every way than the 
width of the tarlatan, thus making one seam unavoidable. 
It is important, and therefore may be noted here, that the 
trimmer should, as a rule, maintain uniformity in all designs. 
For instance, when a seam is necessary, it should be made 



Fig. 25 


to come in the middle so as to render each part of the design 
uniform, as seen in Fig. 20, instead of attaching one piece 
to the other by a slight overlap, as might have been done 
after the first piece was in place, as shown in Fig. 19, which 
would have made one side much larger than the other to the 
detriment of the general effect. 





18 


BACKGROUNDS 


§8 


5. Foliage. - When the spaces have been furnished with 
the tarlatan covering, outline the same with suitable puffing 
or other finish, as illustrated in Fig. 20. The work is now 
ready to receive the foliage. This may be applied in a 
number of designs, several of which are illustrated on this 
one frame for the purpose of instruction. As a general rule, 
it is advisable to use but one or two styles in any single 



Fig. 26 

decoration. This is a rule of good taste now almost uni¬ 
versally conceded. The principal style of applying foliage 
is in imitation of the natural growth. The beginning is at a 
lower point, at about where the stalk or stem of a vine would 
be found, and is made by first pinning an end, as shown in 
Fig. 21. All artificial vines come in yard lengths. Trail the 
first piece along in serpentine fashion, fastening the same by 
pinning at the principal curves. 










§8 


BACKGROUNDS 


19 


Then start the succeeding lengths as branches, as illus¬ 
trated in Fig. 22. To lengthen the stalk, or any branch, add 
lengths by twisting the ends together, as shown in Fig. 23. 
Be particular to see that the bottom end of one length is 
fastened to the top end of the preceding length, so that the 
leaves may be kept running as they grow naturally. Con¬ 
tinue in this manner until a whole space, as desired, is 



Fig. 27 

covered uniformly and appears as seen in the large cen¬ 
tral space of the frame in Fig. 26. Fig. 24 shows a method 
of treating circular spaces, and Fig. 25 one for odd spaces, 
as may, at times, be desired. 

The bottom space of Fig. 26 shows still another method, 
which is a diamond-lattice effect. There are others that 
will suggest themselves in practice, but these are the prin¬ 
cipal effects and quite sufficient for general use. 












20 


BACKGROUNDS 































§8 


BACKGROUNDS 


21 


The decoration shown in Fig. 26 affords a very pleasing 
and elegant effect as it is, but may be further embellished 
and ornamented by the introduction of flowers into the 
design, attaching them by coiling their stems about the stem 
of the vine, as shown in Fig. 27. These should be scattered 
about promiscuously, as they might appear in nature; or per¬ 
haps with a trifle more regularity for the sake of uniformity 
in the final effect, as illustrated in Fig. 28. 

This style of decoration may be used in connection with 
any design of framework, and on the back as well as the 
front of the frame, in which case the framework must be 
wrap-covered with the same colored material that is used for 
the puffing. Elegant effects are also obtained by leaving some 
of the spaces open, when there is a sunburst or plaited deco¬ 
ration a short distance back of the frame. In this design, if 
the large central space were left undecorated or filled in with 
lattice work, it would give a very good effect. 













































BACKGROUNDS 

(PART 9) 


CRAPE-PAPER RUFFLES, ROPING, AND 
TASSELS 


CRAPE-PAPER RUFFLES 

1. Crape Paper. —Crape paper is one of the most inex¬ 
pensive, as well as effective, of decorative materials, and 
may be used in a multiplicity of ways and in an endless 
variety of designs, which are limited only by the individual 
ability of the trimmer. For this reason it always affords a 
productive field for study and ingenuity. It comes in a 
regular width and in a great variety of colorings, both plain 
and in figured designs. It is very useful for background 
work, and may be used flat, plaited, ruffled, and festooned. 

2. Ruffles. — Ruffles are generally used as edgings to 
spaces covered by other methods; but it also affords a very 
effective trimming for frames, scrolls, and other design out¬ 
lines, as will be seen by referring to Part 8. Ruffles may be 
made of single or combined colors, and by three general 
methods, according to the purpose they are to serve. 

For a wide edging, cut three strips of paper as illustrated 
in Fig. 1. One strip should be about 1 inch, and the other 
about 2 inches, narrower than the widest strip, which should 
itself be cut about the width of the edging desired. 

For the illustrations, two strips of white and one strip of 
green were used. Place the green strip between the white 
strips, as seen in Fig. 2, and run a piece of tape down the 

For notice of copyright , see page immediately following the title page 



2 


BACKGROUNDS 


§ 9 


center of the ruffle, as also illustrated. Drive the pins or 
tacks that are to hold the ruffle in place through the tape. 
This will hold the paper more firmly and reduce the tendency 
to tear away at the fastenings. Arrange the strips as nearly 
in the center of each other as possible, so that the edges 
may be straight, even, and equidistant from each other. 
When the strips are firmly in place, press the sides together 
throughout the length, as illustrated in Fig. 3. This will 



give them the necessary spring from the flat surface on which 
they are being used. 

The next step is to ruffle the edges of the strips. This is 
done by stretching the paper, as shown in Fig. 4. The more 
the paper is stretched, the fuller and better will be the effect; 
but great care must be exercised not to stretch the paper 
enough to tear it. This would spoil the ruffle and make it 
necessary to replace the torn piece of paper. Fig. 5 shows 




§9 


BACKGROUNDS 


3 



Fig. 2 













4 


BACKGROUNDS 


§9 






























$ 9 


BACKGROUNDS 


5 



Fig. 4 


























6 


BACKGROUNDS 




Fig. 5 






























§9 


BACKGROUNDS 


7 



Fig. 6 
















8 BACKGROUNDS §9 








































§9 


BACKGROUNDS 


9 


the method of finishing with a narrow band of the green 
paper, which also serves to conceal the tape and tacks. 
Fig. 6 illustrates a completed section of ruffling, and shows 
how it should appear when properly executed. 



Fig. 8 Fig. 9 


Another method is to fold the strips in half lengthwise, as 
shown in Fig. 7, and run the tape and tacking along the 
creased edge, as will be observed. Then turn the top edges 
back again, as illustrated in Fig. 8. This plan brings the 










10 


BACKGROUNDS 


9 


fastenings behind the ruffle and thus obviates the extra strip 
required in the first method. But this method produces a 
narrower ruffling, and there are occasions when the wider 
one must be used. Fig. 9 shows a finished section of ruffling 
produced by this method. 

Fig. 10 illustrates the method to be followed for very wide, 
hanging ruffles or flounces, or when a valance or frieze effect 
is required. The illustration shows three widths of paper. 



Fig. 10 


The edges are all brought together on one side and are 
thus tacked up, making each a different depth of ruffle, 
as may be seen in the illustration. The opposite edges are 
then ruffled by stretching, as previously instructed. The 
tacked edge is finished with a tape, or more preferably, a 
gilt or other fancy molding, producing the finished effect 
seen in the illustration. 










9 


BACKGROUNDS 


11 


CRAPE-PAPER ROPING 

3. Cutting of Strips.—Whole pieces of crape paper are 
10 feet in length and fully 20 inches in width. For making 
rope, cut the whole pieces lengthwise into three parts. This 
is easiest done as illustrated in Fig. 11, by opening the roll 



Fig.11 



Fig. 12 

to the original folds, and then cutting through all the folds 
at once with large shears. Owing to its crinkle, crape paper 
stretches to perhaps half again the regular length. 










12 


BACKGROUNDS 


§9 


4. Roping.—Take one length at a time; turn the ends 
about lead pencils, as shown at the left of Fig. 12, and 
then grasp the doubled end loosely in the hand, close to the 
pencils, as shown at the right of Fig. 12. When both ends 



Fig.13 



Fig. 14 


are thus secured, stretch the paper well out to the limit, and 
then begin to turn the pencils in opposite directions by carry¬ 
ing their top ends around the holding hand, in which the paper 
is allowed to turn. This will twist the paper throughout the 














§9 


BACKGROUNDS 


13 


entire length, gradually reducing its thickness as the twisting 
proceeds, as illustrated in Figs. 13, 14, and 15. After the 
required number of strands have been twisted, take them up 
in threes, as shown in Fig. 16. The best effect is secured 



Fig. 15 



Fig.10 


by using two contrasting colors of crape paper —two strands 
of one color and one of the other; or, by using one strand of 
white and strands of a light and a dark shade of another 
color. Bring three strands together, as seen in Fig. 16; turn 









14 


BACKGROUNDS 


9 


the ends about the pencils as in twisting the separate strands, 
and then twist as before, except that it is done in the opposite 
direction, as shown in Fig. 17. This reversal of the twisting 
operates against the natural tendency of the strands to 
untwist. Run the hand along the rope, as illustrated in 



Fig. 17 



Fig. 18 


Fig. 18, when it is twisted to about the proper thickness, in 
order to smooth down any irregularities and thus give a 
uniform thickness throughout. Rope of this kind is used for 
festooning purposes, for making lattices, as cord for tassels, 
and for many other uses in designing and trimming. 







§9 


BACKGROUNDS 


15 


CRAPE-PAPER TASSEL 

5. Advantages.—The usefulness and effectiveness of 
the tassel as a means of ornamentation is well known from 
its use as an upholstery accessory in various sorts of artistic 
draperies. It is made up for the trade in various materials 
and styles. But the trimmer often finds himself without 
access to any of these, in which case an inexpensive and 
easily constructed substitute is a great convenience. Such 
is the crape-paper tassel. 



Fig. 19 

6. Material.—First, cut three pieces of full-width crape 
paper, as illustrated in Fig. 19. Fold these in half across 
the width, as shown in Fig. 20, and then trim the edges, as 
is being done in Fig. 21. 

7 . Tassel.—Introduce a string, preferably strong twine, 
within the fold, as indicated in Fig. 22. Draw the twine all 
the way in, up to and following the creased edge. Leave it 
in this position while the slashing of the opposite side is 
being done, as illustrated in Fig. 23. The depth of the 














16 


BACKGROUNDS 


§9 



Fig. 20 



Fig. 21 






































§9 


BACKGROUNDS 


17 



Fi 


90 



Fig. 23 














































18 


BACKGROUNDS 


§9 



Fig. 24 



Fig. 25 






































§9 


BACKGROUNDS 


19 


slashes should be about two-thirds of the folded width, and 
from i to f inch apart. Next, grasp the ends of the twine, 
and while the paper is being held flat, as shown in Fig. 24, 
gently draw the twine. This will cause the paper to gather 



Fig. 26 



Fig. 27 

along the string and at the same time work around into 
circular form, as seen in Fig. 24. Now tie the ends of the 
twine, as shown in Fig. 25, drawing it in until the folded 
edge of the paper forms about a half-inch hole; then cut away 
the surplus twine. 











20 


BACKGROUNDS 


§9 


Gather up enough scraps and trimmings of the paper to 
form a ball about the size of a small orange. Place this in 
the center, immediately on the hole formed by the tying, as 



Fig. 28 



Fig. 2.") 


illustrated in Fig. 26. Then bring the slashed fringe all 
over together, and draw the unslashed portion of the paper 
around and covering the crushed paper ball, as will be 





















9 


BACKGROUNDS 


21 


observed in Fig. 27. While holding the tassel in this posi¬ 
tion, make two turns with twine about the neck between the 
ball and fringe, as seen in the same figure, and then tie 
tightly and securely. Conceal the twine and tie by winding 
a couple of strands of the fringe around it, as shown in 
Fig. 28. Slip the end under the loop thus made and draw 



Fig. 30 

up close, forming a neat band, as indicated in Fig. 29, which 
also shows the completed tassel. By introducing a piece of 
paper cord or rope into the hole at the top, and securing it 
with pins, the result will appear as illustrated in Fig. 30. 
This produces an ornament as effective as any of the regu¬ 
larly manufactured varieties. 











fp' ! 















BACKGROUNDS 

(PART 10) 


FESTOONING 


FAN FESTOONS 

1. Festoons in General.—Festooning; is the term 
applied to that form of decoration in which materials of con¬ 
siderable length and width are formed into series of draped 
loops. There are several standard methods of making up 
festoon draperies. It will be observed by a study of Fig. 9 
that each drape of a festoon consists of a series of fluted 
loops, or folds, each of which is of necessity longer from top 
to bottom than the preceding one. To secure this varied 
length of fold, it is necessary to plait them on a bias with the 
square of the material. In doing this, first secure an end of 
the material, which may be either single-width goods or any 
number of widths sewed together along the selvages, accord¬ 
ing to the depth of drapery desired; the first method under 
consideration is best adapted to draping single-width mate¬ 
rials. The various examples illustrated were made with 
yard-wide silkaline, which is merely a soft, silk-finished 
cotton fabric made especially for this kind of work. 

2. Plaiting;.—The fan festoon is without rosettes in 
its construction, but their places may be occupied by bows, 
flowers, or knots. Measure off the line to be festooned into 
equal spaces, indicating the same by marks. Now take one 
end of the material and lay a number of cross-plaits, as 
illustrated in Fig. 1. The number and depth of plaits must 

For notice of copyright , see page immediately following the title page 
g 10 




2 


BACKGROUNDS 


§10 


be regulated according to the width of the goods, and must 
be sufficient to allow the fan shape to be full width and not 
drag the lower selvage under; wide goods require more, 
and narrow goods less, plaits to accomplish this result. 
Fasten this bunch of plaits at the first mark on the line to 
be followed with festooning. Then move on to the second 



Fig. 1 

mark, measuring off goods necessary to reach between 
marks making up the cross-width plaits and fastening them 
in place, and so on, as illustrated in Fig. 2. Proceed thus 
throughout the whole line. 


3. Cross-Plaiting.— Next, make longitudinal plaits, 
following a straight line across the goods, and beginning 









§10 


BACKGROUNDS 


3 



Fig. 2 



Fig. 3 
















4 


BACKGROUNDS 


10 


at the lower selvage, exactly midway between the cross- 
plaitings, as illustrated in Fig. 3. Continue these plaits 
all the way up to the top selvage, and fasten them as indi¬ 
cated in Fig. 4, which also shows how this form of 
festooning should look when completed. It is not always 
necessary to arrange this style of festooning along a straight 
top line. The points of fastening may be alternately high 
and low; or every other one may be made to jut out by 
fastening projecting sticks or arms to the background, to 
the outer ends of which the plaits may be attached. By 
these different ways the effect may be greatly varied and 
stiffness of contour relieved. 



Fig. 4 

TURNED FESTOONS 

4. Plaiting.—Turned festoons are adapted only to 
narrow draperies, and are ordinarily used only for single¬ 
width material. In the examples illustrated, yard-wide 
silkaline was used. End tabs may be employed, or the 
festoon may begin at the end of the goods, as illustrated 
in Fig. 5. Pin up the corner and hold the top selvage about 
a foot from the end, as seen in Fig. 5. Then, beginning at the 
lower corner, as shown in Fig. 6, gather the goods into 
plaits, following a diagonal line to the other hand, as illus¬ 
trated in Fig. 7. Fasten this bunch of plaits and turn the 
corner goods under, out of sight, so that the first fasten¬ 
ing appears as seen in Fig. 8, which figure also shows a 






§10 


BACKGROUNDS 


5 


good method o£ regulating the sag or drop for the top fold, 
by using the hammer handle as a gauge between the line of 
festooning and the goods. Fasten the selvage when this 
drop is regulated. Hold the selvage a foot farther along, 
and begin plaiting as shown in Fig. 9, which is done in the 
same manner as illustrated in Fig. 7, except that the plaits 
are gathered along the line to the temporary fastening 
instead of toward the other hand, as in the first instance. 



Fig. 5 


The reason for this is obvious. The folds for the first 
festoon must shorten toward the top. 

5. Twisting.—When the goods are plaited as seen in 
Fig. 10, give the bunch of plaits a half twist before fastening. 
The purpose of this is to turn downwards the fulness that gives 
the increasing lengths to the folds of the second festoon. 
Thus, what was the top selvage now becomes the bottom 




6 


BACKGROUNDS 


§10 



Fig 






§10 


BACKGROUNDS 


/ 



Fig. 8 



Fig. 9 



























8 BACKGROUNDS §10 



Fig. 10 





| 




Fig. 11 












§10 


BACKGROUNDS 


9 


one, and vice versa, as indicated by the reversal in progress 
in Fig. 11. The selvage held in the left hand is dropped 
and the one in the right hand now becomes the top one for 
the second festoon, which is made up in the same manner as 
before and appears as shown in Fig. 12; where also is shown 
the twist that again reverses the position of the selvages for 
the next, or third, festoon. Proceed in the same manner for 
all festoons of this style. 



Fig. 12 



Fig. 13 


6. Fringes. — Fig. 13 shows a festoon of this kind edged 
with a ball fringe. This fringe must be pinned or stitched 
along the bottom edges of the festooning after it has been 
made up, because of the reversing of the selvages for 
the different drapes. However, in other styles of festooning, 
fringes and cords may be sewed on to one selvage of the 








10 


BACKGROUNDS 



material before it is made up. At the fastening, and where 
rosettes are used, the festoon just considered is often orna¬ 
mented with ribbon bows and sometimes with rosettes 
separately made up; also, with bunches of flowers, with 
smilax tabs and connecting drapes of smilax following the 
folds of the festoons. 

WHEEL-ROSETTE FESTOONS 
7 . Plaiting. —So far plain festoons, i. e., festoons with¬ 
out rosettes provided in the same construction, have been 


dealt with, and if they are to be ornamented with rosettes 
and tabs these have to be added to them separately; in the 


Fig.14 








§10 


BACKGROUNDS 


11 


wheel-rosette festoon the ornamental rosettes are formed 
of the material itself, simultaneously with the festoon forma¬ 
tion. First, secure the material by the selvage with the left 
hand, as shown in Fig. 14, about a foot from the end of the 
goods. Then, about a foot farther along the selvage, begin 
plaiting the material with the right hand, as illustrated in 
Fig. 14; now plait across, as shown, to the corner of the 
goods, being careful to draw the plaits gently downwards so 
that they are fairly taut and straight between the hands, as 
will be noticed in the progress of the work. 



Fig. 15 


Fig. 15 shows the method of measuring for the first drape, 
which is to the second of the marks previously laid out, and 
which marks off an equal division of the whole line to be 
festooned. From the point secured in Fig. 15, pass along 
the selvage about a foot, as shown in Fig. 16, and hold as 
before in the left hand. Then, a foot still farther along, 
start the bias cross-plaiting again, as shown in Fig. 17. 
When plaited all the way across, the work should appear 






BACKGROUNDS 


12 


§10 


as illustrated in Fig. 18. The plaits held in the right hand 
are then secured by pinning them together. 

8. Forming tlie Rosette. — Point the pin toward the 
back and then carry the top, held in the left hand, back and 
down, catching the edge on the point of the pin, thus form¬ 
ing the rosette loop, as illustrated in Fig. 19. Secure the 
whole by driving the pin into the draping line at the second 
mark before mentioned. Proceed in this manner along the 



Fig. 16 


entire line, making the bias cross-plaitings and rosette loops 
at each mark. Finish by opening out and forming the 
rosettes. This is done by securing the selvages of the 
material contained in the rosette formation, as shown in 
Fig. 20, and then bringing them around in a circle and 
pinning together, as illustrated in Fig. 21, thus forming 
the complete wheel rosette. 






§10 


BACKGROUNDS 


13 



Fig. 17 






BACKGROUNDS 




Fig. 18 



















10 


BACKGROUNDS 


15 



Fig. 19 


















16 


BACKGROUNDS 


§10 


Because of the handling necessary, the hang of the 
loops and the formation of the rosettes will be produced with 
more or less irregularity. This irregularity is to be gently 
touched out until the loops appear in regular, even folds and 
the rosettes are neat and round, as illustrated in Fig. 22. 

This is the simplest and easiest form of festooning, and a 
small amount of intelligent practice will equip any one with 
sufficient proficiency for all practical purposes. 


TURBAN-ROSETTE FESTOONS 

9. Special Advantages. —The turban-rosette fes¬ 
toon, being the most difficult to make, is perhaps less 
familiarly known and used than some of the other styles. 
It is equally well adapted for all widths of drapery, whereas 



width material. Once the skill has been acquired, any number 
of widths of material may be sewed together and made up 
into graceful festoons by this method with as great facility 
as single width by the same or other methods. 










§10 


BACKGROUNDS 


17 


Draperies are generally spoken of according to their width; 
thus, single-width, double-width, and three-, five-, or ten-width 
drapery, as the case may be. They are used either to finish 



Fig. 21 



Fig. 22 

out other forms of decoration, or may, by adding sufficient 
widths, be made to cover whole background spaces, in which 
case, only the turban-rosette method can be used successfully. 






18 


BACKGROUNDS 


§10 





Fig. 23 



Fig. 24 




















§10 


BACKGROUNDS 


19 


10. Material. —First, have sufficient lengths of material 
sewed together, when more than single width is required. 
In order to ascertain the length of drapery required for a 
given space, divide the line to be festooned into a number 
of equal spaces, counting a rosette for each dividing point 
and one for each end. Then, decide on the amount of goods 
to be allowed for the formation of each rosette. This is 
known as the rosette allowance. Multiply this amount by the 



Fig. 25 


whole number of rosettes required, and add the same to the 
length of the space; this will give the length of drapery 
required to festoon the space, unless it is intended to have 
hanging tabs at the ends or to have the top edges of the 
festoons to drape or sag also, instead of following a straight 
line, either of which is, of course, permissible; in such cases 
add the extra lengths needed for these purposes. The 










20 BACKGROUNDS § 10 

required number of widths are now cut to the calculated 
length and then sewed together along the selvages. 

The goods being ready, the making up is begun as illus¬ 
trated in Fig. 23, which shows the handiest method of mea¬ 
suring and regulating the rosette allowance. Trimmers 
usually have a number of standard lengths located on their 
persons; for instance, it is 1 yard from the outstretched 
fingers to the tip of the nose or chin, held at a particular 
angle; it is 2 feet from finger hold to shoulder, as illustrated 



Fig. 26 


in Fig. 23, and so on. These standards will be found to 
afford considerable saving of time and trouble. 

11. Making tlie Rosette.—Fold the rosette allowance 
as shown in Fig. 24. Then fasten it up at some convenient 
point, or have it held high by an assistant, as illustrated in 
Fig. 25. The bias plaiting may start from any point along 
the folded edge of the rosette allowance, according to the 
depth of festoon desired. For general use, the start is about 
















22 


BACKGROUNDS 


10 


midway, as seen in the illustration. Varying the start toward 
the top widens the festoon, and toward the bottom narrows 
it. This varying of the start also affects the folds of the 
festoons; approaching the bottom makes them thicker and 
closer together, and approaching the top correspondingly 
shallows and thins them out. When particularly close, full 
folds are desired, the start is made all the way down, in 
which case, experience teaches that it is best to increase the 



Fig. 29 


rosette allowance; otherwise, the festoons would be too 
narrow and stringy for a good effect. The average rosette 
allowance is 2 feet for yard-wide material, such as is used in 
the illustrations, and a foot extra for each width additional. 
When narrower or wider material is used, the allowance 
for rosettes should be proportional. 

The bias plaiting must be begun by forming the folded edge 
into a box plait, as illustrated in Fig. 26, after which take 










§10 


BACKGROUNDS 


23 


up the rest of the material into ordinary side plaits behind 
the box plait, by pushing the goods back and forth over 
the ends of the fingers, and following a direct line between 
the starting point, as shown in Fig. 25, and the opposite 
holding hand of the assistant. Continue the plaiting, as 
shown in Fig. 27, all the way across. When the last plait 
is formed, take the whole from the assistant, when it will 



Fig.30 

be in the condition shown in Fig. 28. The bunch of plaits 
is firmly held between the fingers, and must now be turned 
over while the assistant prepares to make the tie by laying 
the twine across the bunch, as illustrated in Fig. 29. Now 
turn the rosette goods back again toward yourself and hold 
the same while the assistant ties the plaits, as shown in 
Fig. 30. The plaits should be tied very tightly in order to 













BACKGROUNDS 


24 


§10 


prevent any change in their present arrangement by the 
subsequent handling. 

Tie a second knot about an inch from the one that secures 
the plaits. This will form a loop of the twine by which the 
drapery should be handled and finally hung to tacks or nails 
previously prepared to receive it. The assistant should also 
hold the drapery by this loop while the rosette is being 
formed, as will be noticed in the illustrations of that part of 
the work. 



Fig. 31 

First, draw the sides of the rosette material apart, as 
shown in Fig. 31, down close to where the plaits are tied, 
which will be the center about which the rosette is to be 
formed. Next, roll the goods under in an even-sized, but 
crinkled, roll, as shown in Fig. 32. Take care in the roll¬ 
ing to keep the crinkles as evenly distributed as possible; 
the formation is now semicircular. Form into a complete 
circular effect by drawing the ends around together, as shown 










§10 


BACKGROUNDS 


25 


in Fig. 33, and secure them in that position by passing one 
end within the other, as shown in Fig. 34. Draw the top 
one well over and around the other, to make it perfectly 
secure. A little tucking under of any extra fulness, and 
rounding out as indicated in Fig. 35, will produce a neat 
turban-shaped rosette, as shown in Fig. 36, from which it 
derives its name. This rosette is varied in size to suit 



Fig. 32 

individual taste, according as the material composing it is 
rolled under tightly or loosely —a loose roll making a large 
rosette, and a tight roll a small one. In either case, the 
process is identical. Repeat this process at regular intervals 
along one edge of the drapery material, as often as points 
for rosettes have been indicated along the line to be 










26 


BACKGROUNDS 





Fig. 33 Fig - 34 

























§10 


BACKGROUNDS 


27 




Fig. 36 















28 


BACKGROUNDS 


§10 


festooned. The result when finished and hung - should, if 
properly accomplished, appear as illustrated in Fig. 37. 

This style of drapery is made up with either a straight 
or curved top line between the rosettes. In the former the 
measurements are taken exactly between the points, and in the 
latter an inch or so is allowed, according to the drop desired. 

Attention is called to the box-plait-shaped tab of graduated 
width beneath each rosette, in order to emphasize the reason 
for starting the bias plaiting with a box plait, as previously 
instructed; otherwise, the fulness beneath the rosettes would 
hang in irregular, shapeless, and inelegant form. 

On the right-hand side of Fig. 37 is shown the end tabs 
previously mentioned. These are formed by making the first 



Fig. 37 

rosette a yard, or several yards, as the case may require, from 
the end of the material, and allowing the goods to extend a 
similar distance beyond the last rosette, if a long tab is 
desired at each end. 

Of all kinds, the turban-rosette festoon is the most com¬ 
plicated, so far as instruction and study are considered, but 
when once mastered it will be found the easiest and best 
suited for general use. Therefore, the student should not 
be satisfied until he can make this style of festoon as quickly 
and as well as any other. 









§10 


BACKGROUNDS 


29 


INTERTWINED FESTOONS 

12. Material.—The intertwined festoon is not an 
entirely different style of festoon. It is a design for the 
application of the other methods, except the fan festoon, 
which does not lend itself readily for intertwining. It is 
also commonly known under the title of chain draping . For 
the illustrations, the twisted-festoon method of making up 
the drapes is used, because that style affords the best effect 



Fig. 38 

when treated in this manner. This draping requires two 
pieces of material, which are generally of contrasting colors, 
though equally good effects are produced by two draperies 
of the same or of harmonizing colors. Three colors are 
sometimes used, by tacking one along plain and then chain 
draping the other two over it; as, for instance, when display¬ 
ing national or society colors, in which three colors are com¬ 
bined, as red, white, and blue, etc. 













30 


BACKGROUNDS 


§10 


13. Intertwining*. —For example, to festoon, using the 
national colors —red, white, and blue; first, tack the blue along 
the line to be festooned and then intertwine the red and 



Fig. 39 



Fig. 40 

white over the blue. Begin this style of festooning, as illus¬ 
trated in Fig. 38, by plaiting and fastening up the ends of 
both pieces of goods. Then proceed to make up a festoon, 
first of one end, as shown being done in Fig. 38, and then 

















§10 


BACKGROUNDS 


31 


of the other end, as seen in Fig. 39, intertwining as the work 
is carried along. 

Fig. 40 illustrates a section of intertwined festooning 
completed, and shows how it should appear when properly- 
executed. All festoons are at first more or less rough, and 
the folds require to be touched up accordingly, in order to 
secure the regularity and evenness of fold that may be seen 
in Fig. 40. 


SEPARATE TABS 

14. Use of Tabs and Tlieii* Production. —In festoon¬ 
ing and draping, it frequently occurs that extra tabs other 
than those produced in the make up of a running drapery 
or festooning are required to help out or add to the effect. 

To make separate tabs, cut a square of the drapery mate¬ 
rial for each tab required. Fold it in half diagonally, as 



Fig. 41 


illustrated in Fig. 41. Then fold it in even plaits from one 
end of the creased, or folded, edge to the double corners, as 
indicated in Fig. 42. 

When the plaits are all laid, pin them together; then the 
completed tab should appear as illustrated in Fig. 43. One 
of these is then pinned under each rosette where tab effects 
are desired. 








32 


BACKGROUNDS 


§10 


These tabs add materially to the effect of the twisted fes¬ 
toon, in which case the top end is pinned under the turn of 
the material; or, if pinned on top, a bow of ribbon or sepa¬ 
rate rosette may be used to finish the effect. 

Double-tab effects of the kind shown in Fig. 43 are obtained 
by cutting lengths of the material just twice the size of the 




Fig. 42 


Fig. 43 


square pieces required for the single tabs. Both corners of 
one side are then folded up to the middle of the other, and 
then the latter is plaited, as shown in Fig. 42, but to the 
middle only from each end. The meeting of the plaited 
sides at the middle line produces the same effect as if two 
of the tabs shown in Fig. 43 were placed side by side. 







BACKGROUNDS 

(PART 11) 


PORTIERES, LACE CURTAINS, AND 
STOCK BACKGROUNDS 


PORTIERES 

1. Material. —The regular made curtains of trade, both 
heavy and lace, are among the main standbys of the trim¬ 
ming art. Besides affording means for some of the most 
handsome and striking backgrounds, they are also among 
the handiest, most convenient, and quickest of application. 
They are capable of being arranged in very satisfactory 
effects in a very short space of time, and on this account 
are probably more frequently used than any other form of 
decoration. 

Portieres is the term commonly applied to all varieties of 
heavy hangings or curtains. They come regularly manufac¬ 
tured, or are made to order from materials manufactured and 
sold by the yard for that purpose. The regular made por¬ 
tieres are usually finished with tasseled fringes at the ends. 
These are generally much longer and heavier at one end than 
at the other, in which case the heavy fringed end is always 
the top end and the light fringe the bottom end, as indicated 
in the examples in the illustrations. 

2. Draping. —The most convenient way for draping 
curtains is to have the space to be decorated fitted with the 
regulation curtain poles and fixtures, as shown in the illus¬ 
trations. When time is limited, the curtains are frequently 


For notice of copyright, see page immediately following the title Page 
§11 




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used quite as satisfactorily by tacking them along some head- 
line, such as a molding, etc. 

The simplest and most direct method is to cover a back¬ 
ground by hanging the portieres over a pole, side by side, 
as illustrated in Fig. 1, and then make some fancy folded 
arrangement of the heavy fringed end, as suggested in 
Figs. 2, 3, and 4. 



Fig. 5 


Another method is to further embellish the top line by 
festoons made of other portieres. For this purpose place 
short projecting sticks or rods over the pole, between the 
hanging portieres. Then plait a portiere across tne middle 
and hang it on the projection, as illustrated in Fig. 5. Next, 
bias plait across the top corners of the ends of the portiere, 
as shown in Figs. 6 and 7, and fasten the same by driving a 









BACKGROUNDS 


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BACKGROUNDS 


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Fig. 9 












10 


BACKGROUNDS 


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pin through the bunch of plaits into the pole. Now extend 
the ends in minor drapes, as seen, and the whole will then 
show as a head drapery, as illustrated in Fig. 8. For large 
spaces, duplicate the display shown in this figure until the 
whole space is decorated. 

Fig. 9 shows a combination design of lace and heavy cur¬ 
tains. The arrangement is obvious, the lace curtains being 
hung plain and the heavy curtains in triple box plaits. A 
very elegant effect is obtained by finishing this design after 



Fig. 10 


the manner shown in Fig. 10, which is done in about the same 
manner as the overdrape shown in Fig. 8, except that the 
projecting supports are placed higher up and farther out, 
thus giving more of a canopy effect; also, the corners out¬ 
side the bias plaitings are formed into rosettes instead of 
minor drapes, as was done in Fig. 8. The hanging por¬ 
tions of portieres are also draped back in various styles 
and held thus by tassel cords made for the purpose, after the 
manner usually seen in their use at doorways and windows. 









s 11 BACKGROUNDS 11 

These drapes are so common and familiar as to require no 
detailed explanation. 

The foregoing are the principal movements for the han¬ 
dling of portieres. However, it must be understood and 
remembered that the possibilities of combination are prac¬ 
tically unlimited and may be varied according to the taste 
and ability that comes from study and practice. 


DACE CURTAINS 

3. Advantages.—Dace curtains are very decorative 
and make excellent backgrounds for almost any kind of mer¬ 
chandise. They are decorated in much the same manner as 



Fig. 11 


portieres. Therefore, the instruction for their use will be 
made up of a number of additional designs to those already 
noted for portieres. 










12 


BACKGROUNDvS 


§11 


4. Hanging and Draping. —The first step in the hang¬ 
ing of lace curtains is illustrated in Figs. 11, 12, and 13. 
See that the bottom of the curtains just clear the floor, 
and then secure them in this position by pinning at a 
number of points just under the pole. Five pins for each 
curtain are usually sufficient —one at each edge, one in the 
middle, and one in the middle of each of the spaces made 



Fig. 12 


by the first three pins. Then make fan drapes of the top 
ends, as shown in Fig. 15. This is done by plaiting up the 
center line, as seen in Fig. 14, and securing it in this shape 
by a pin through the bunch of plaits thus formed. Another 
method is to arrange the plaits at one side of the center line, 
thus giving the result illustrated in Fig. 16. Plaiting on a 











BACKGROUNDS 


13 






























14 


BACKGROUNDS 


§11 


bias line gives the result shown in Fig. 17. Now get rid of 
the overhanging ends by plaiting them up into a bunch, as 
indicated in Fig. 18, and then fasten them behind the pole, 
as illustrated in Fig. 19. Set a projecting stick or rod, and 
cross-plait another curtain and mount it, as shown in Fig. 20. 
Drape the same by carrying out and fastening the ends, as 



Fig. 14 

shown in Fig. 21, or by using any of the forms shown for 
portieres. 

A simple yet effective background is made of very fine 
lace curtains by simply throwing them over the pole and 
fulling together, as illustrated in Fig. 22. The fulling proc¬ 
ess is generally confined to the plain portion of the curtain, 










§11 


BACKGROUNDS 


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18 


BACKGROUNDS 


§11 


leaving the border part hang flat, so as to better exhibit the 
elegance of design usually centered in that portion of the 
curtain. 

Lace curtains are side draped in several ways. Take up the 
minor edges in plaits, as shown in Fig. 23. This will produce 
the effect illustrated in Fig. 24 when applied to a number of 
curtains. Or, grasp the minor edges and plaiting into the 
curtain from below and thence out again to the edge above, 
as shown in Fig. 25, forming a pointed bunch of plaits, as 



Fig. 18 


indicated in Fig. 26. Secure these by tying, as shown in 
Fig. 27, and then form a rosette of the projecting part, as 
illustrated in process in Figs. 28 and 29 and finished in Fig. 30. 
This rosette is made up and finished in about the same man¬ 
ner as the rosettes in the first style of festooning. Instead of 
fulled plaiting, the plainer portions of lace curtains are some¬ 
times box plaited and sometimes side plaited, as shown in 
Fig. 31. A choice of these methods is simply a matter of taste 
and ease of execution, the results being practically the same. 












§11 


BACKGROUNDS 


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23 


Another plan is to adjust the curtains by one of the pre¬ 
vious methods, except that they are fastened to the back¬ 
ground behind the pole, leaving the pole free to carry a 
festoon, as illustrated in Fig. 32. This festoon is a loose 
form of the twisted festoon style, and is effected by allowing 
the material to reverse at each turn over the pole or rod, thus 
taking the place of the half twist in the twisted festoons. 
The portions resting on the pole should be kept well fulled 



Fig. 23 


or pushed together, so as to give space and distinction to the 
festoon loops. 

Still another plan for topping out is to use the fan festoon 
with elevated points to receive the cross-width plaits, as 
shown in Fig. 33. The longitudinal plaits are formed 
exactly midway between the elevated points, and then fas¬ 
tened to the pole at the meeting of the curtains, with the 
result illustrated in Fig. 34. This decoration is often further 
embellished by placing bows of ribbon or floral sprays, or 
both, at the points of plaiting. 






24 


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Fig. 35 shows lace curtains hung by means of ■pin hooks 
and rings, a method that is so commonly understood as to 
need little explanation. The principal requirement is to lay 
the curtain in plaits. This is best done by spreading out 
the curtain on the floor or a large table. Insert the pin hooks 



Fig. 35 


into the plaits at the back and then hang the curtain by 
hooking upon eyes provided for this purpose on the rings. 
Unlimited designs may be made by further combinations of 
these and other draping principles. 
















34 


BACKGROUNDS 


§11 


STOCK BACKGROUNDS 

5. Advantages. —There are a number of kinds of mer¬ 
chandise from which it is possible to draw materials for the 
backgrounds for their own display, and which are generally 
resorted to when the time allowed for making a display is 



Fig. 36 


too limited for the preparation of an elaborate or specially 
designed background. 

For illustration, we will show a plan in which dress mate¬ 
rials (which very frequently furnish their own backgrounds) 
are thus used. Of course, it is generally best to use the 






§11 


BACKGROUNDS 


35 


principle of contrasts in this work. To show light-colored 
fabrics, use dark ones for the backgrounds and plain goods to 
show figured ones, or vice versa. However, this must not be 
taken as an absolute rule, because some of the most effective 
displays are carried out in what are known as color schemes, in 
which one color is used throughout, with a total disregard of 
color contrast, and depending solely on what differentiation 
is afforded by perspective and light and shade. These color 
schemes are particularly effective for light and brilliantly 



Fig. 37 


colored materials, and always result in very dainty and 
fetching displays when properly and tastefully executed. 

6. Draping.—The example under consideration illus¬ 
trates a background for figured or light-colored dress goods. 
Select other goods, plain effects and neutral in color, from 
the same stock. Run a length across the lower background. 
Start in the middle, as seen in Fig. 36, allowing the lower 
selvage to just touch the floor line. Draw out and fasten, 
first at one end, as in Fig. 37, and then at the other end, 













36 


BACKGROUNDS 


§11 


showing the first piece in place, as seen in Fig. 38. Now 
take another length, and, starting in the middle again, form 
a box plait, as illustrated in Fig. 39. Continue these box 
plaitings at regular intervals throughout the upper back¬ 
ground space, as shown in Fig. 40. Use the surplus of the 
first width, that is seen at the lower right-hand corner of 
Fig. 38, for a shirred finish along the floor line. This is 
shown completed in Fig. 41, which also illustrates the 
completed background for a straight space. Should there be 
end spaces, as in show windows, it is only necessary to carry 
the work around continuously so as to include the end spaces 
as well. 



Fig. 38 


The box-plaited part may also be side plaited or fulled on 
a rod or pole. This is what is technically known in the 
draper’s art as a valance, or valance drape, and may be further 
embellished by a puffing, or with lace, cord, or material 
festoons along the headline and also with fringe on the 
lower edge. 

Among other materials adapted to background service may 
be mentioned the following: Upholstery, which almost invari¬ 
ably furnishes its own backgrounds from its varied assortment 
of curtains, portieres, and draperies; carpets and rugs, for 








§11 


BACKGROUNDS 


37 


which the larger rugs serve admirably; for linens and domes¬ 
tics, table cloths or sheets afford very good foundations; in 
bedwear, blankets or spreads may be advantageously stretched 
over the background for a start; for muslin underwear, skirts 
are frequently draped over the background space; merchant- 



Fig. 39 


tailoring goods, wall papers, furs, and many other lines 
afford materials suitable for quick and effective backgrounds. 

The subject of backgrounds should be kept constantly in 
mind by the student; for this purpose many applications 
found among the example displays that have been selected 
to illustrate other parts of this Course are also intended. 






38 


BACKGROUNDS 





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Fig. 40 


Fig. 41 






































BACKGROUNDS 

(PART 12) 


COLOR IN DECORATION 


FUNDAMENTAL COLORS 
1. Introduction. — The practical application of the 
theory of color has not kept pace with many of the other 
branches of art and industry. This is not because its study 
has not been assiduously and successfully followed by sci¬ 
entists, but because those of their investigations that have 
been made available for the artisan are looked upon as 
being of doubtful value for practical purposes. It is a com¬ 
mon idea that the faculty of so combining colors as to produce 
artistic results, is less a question of science than of a cer¬ 
tain inborn taste, and that unless a person possesses this 
peculiar gift it is of little use for him to attempt any color 
combinations. 

That certain persons possess a decided taste for color, or, 
as it is ordinarily called, “an eye for color,” is beyond ques¬ 
tion. Parallel cases are found in the field of music, where 
certain individuals have a most pronounced gift for placing 
chords and memorizing melodies. But a lack of these par¬ 
ticular talents in either field will not prevent an otherwise 
normally developed person from gaining very satisfactory 
results. We cannot go so far as to say that any extraordi¬ 
nary talent claimed in either art is only imaginary, as has 
been done, because it is an undoubted fact that the highest 
development in either of these arts can be reached only by 
those that, in addition to other necessary qualifications, pos¬ 
sess a highly developed sense either for color or for sound. 

For notice of copyright , see page immediately following the title page 
§12 




2 


BACKGROUNDS 


§12 


Nevertheless, a study of color systematically carried out, 
will not only benefit any one, but will also lead to very satis¬ 
factory results. In this, as in all other parts of the Course, 
close application and continuous study and practice are 
required if the best results are to be obtained. 

There has been much guesswork and arbitrariness in 
deciding what constitute proper color combinations, because 
until recently there was no generally accepted foundation on 
which to build and base the theory of color. It has been a field 
that belonged exclusively to the artist, and has therefore been 
more or less subject to individual taste and fancy. The 
results were that no two theories agreed in all particulars. 
It was after men like Brewster, Helmholtz, Young, and 
Maxwell brought order out of all this chaos that a rational 
development of the color theory could begin. It is therefore 
unnecessary to pay attention to pet theories, for enough 
material has been scientifically obtained with which to build 
a rational theory of color that will satisfy all demands for 
accuracy and good taste. 

2. Methods of Studying Colors. —There are two gen¬ 
eral ways in which colors may be studied. One is by asso¬ 
ciation; that is, by becoming so familiar with the various 
color combinations from actual observation as to be able to 
tell beforehand what the general effect will be. This knowl¬ 
edge is generally obtained by observing and associating with 
objects whose chief beauty lies in their coloring. In this 
way a fine sense of color may be developed without pos¬ 
sessing much knowledge of the theory of color. 

The other way is by studying the laws and principles 
governing harmonious combinations that have been formu¬ 
lated by those that have made a special study of this subject. 
Without such theoretical knowledge our color combinations 
will be more or less influenced by arbitrary rules, or will 
limit themselves to the copy of certain pleasing color effects 
that may have been observed in nature or art. 

3. The purpose of colors in nature and art is to beautify 
and increase the attractiveness of the object in view. It is 


§12 


BACKGROUNDS 


3 


generally the color of an object that first attracts our attention. 
Of two things equally beautiful as to form, that one will 
cause greater attraction that to its beauty of form adds 
beauty of color. The artist always aims to have a center of 
attraction, either of form or color, to which all other parts of 
the composition are subservient. If it is a painting, the part 
of prime importance is the main subject; if a dress, it should 
be the face; and, if a decoration, it should be the main or 
special feature to be brought out. For this reason, in select¬ 
ing forms or colors for any purpose, the aim should be to 
select only such as increase the beauty and general appear¬ 
ance of the vital part and not to attract attention by a 
collection of beautiful units. 

This rule also holds good in window dressing. It should 
always be the aim of the trimmer to show but one kind of 
goods at a time and with as few details and accessories as 
are essential to a good ensemble; this is especially true of 
the treatment of color. In trimming, the tendency is toward 
single-color displays or, if more colors, to compositions of 
the simplest character, in contradistinction to earlier practice, 
when four, five, and even six or more colors entered into 
designs. The great improvement in trimming, as an art, is 
probably due more to this than to any other one fact. 

4. Tlie Nature of Color. —The general supposition is 
that color is a property that is inseparable from the sub¬ 
stance of the objects in which it is observed; that, for instance, 
when an object appears green, such green color is absolutely 
inseparable from it and will remain unchanged under any 
and all conditions. A closer study will show, to the con¬ 
trary, that the color displayed by an object depends entirely 
on the nature of the light it receives and on its surroundings. 
As has been scientifically ascertained, colors are in reality 
elements of white light and not at all attributes of matter, as 
has been supposed. That is to say, objects have no color of 
their own, but have simply the power to decompose, absorb, 
and reflect the colored rays of light. Thus an object is red 
because it decomposes the white light falling on it, and 


4 


BACKGROUNDS 


§12 


absorbs all the colored rays except the red ones, which it 
reflects; these being perceived by the eye, the object appears 
red. What causes an object to absorb certain colored rays 
and to reflect others is not yet known. A white substance 
reflects the majority of the rays of light it receives, and 
a black one absorbs them to a great extent. The latter 
would, in fact, absorb them all, if certain properties of its 
surface did not enable it to reflect white light. As instances 
of this kind, note black silk when woven into fabrics such as 
satin or velvet. 

5. The Spectrum. —The above fads have been ascer¬ 
tained and proved by means of the spectrum, which is 
obtained by decomposing a beam of light into its component 
parts or rays. This may be accomplished in several ways. 
One of the simplest is by means of a prism held near a small 
opening in a shutter before a window in an otherwise com¬ 
pletely darkened room; the beam of white light that passes 
through this opening into the prism is decomposed by the 
latter into various colored rays. If a sheet of white paper is 
placed across the path of these rays a band of colors, called a 
spectrum , will appear on it. The colors of which this band 
is composed are called spectral colors. 

6. Primary and Secondary Colors. — Sir Isaac Newton 
used the spectrum as a basis of color study nearly 250 years 
ago, and named the spectral colors violet , i?idigo, blue , green , 
yellow , orange , and red , all of which he considered primary 
colors. The primaries were later reduced by Sir David 
Brewster to three colors, viz., blue , yellow , and red; and 
still later by Young and Maxwell to blue , green , and red. 
But the great majority of colorists still adhere to Brewster’s 
classification, because it is more applicable to the mix¬ 
ing of pigments and anilines, which apparently do not 
follow the same laws in some respects as do colored rays 
of light when mixed. The apparent discrepancies, how¬ 
ever, are fully accounted for by the limitations of the 
known pigments and their admixtures as reflectors of 
colored light. 


§12 


BACKGROUNDS 


5 


The colors blue, yellow, and red, are called primaries 
because it has been ascertained that all other colors and hues 
can be derived from them by mixing them in various com¬ 
binations and proportions. Thus, blue and yellow mixed in 
equal quantities produce green; yellow and red produce 
orange; and red and blue produce purple. The colors 
derived directly from the mixing of two primary colors are 
called secondary colors. 

This process is illustrated in Fig. 1, in which three cir¬ 
cular disks have been printed so as to partly overlap, each 
representing a primary color. It will be observed that where 
the blue overlaps the yellow; a green is the result; red with 
yellow gives orange; and red with blue, purple. Where all 
overlap in the center something in the nature of a black is 
produced. This is not according to the theory of color, from 
which we were led to believe that a white or grayish white 
would be the result. But it must be remembered that the 
facilities for reproducing colored light by means of pig¬ 
ments are limited. The latter have a certain density that 
must be reckoned with, and which is increased by superim¬ 
posing one layer on another, as in the present instance. 
The result is that practically all of the rays are absorbed 
instead of being reflected, in which case they would approxi¬ 
mate a white. It is beyond the scope of this section to 
enter into further details, but it may be added that the 
apparent contradiction between this phenomenon and the 
theory of light is in reality a proof of its truth. 

7. Intermediate Colors. — Between these primary and 
secondary colors, as found in the spectrum, are a series of 
intermediate colors that appear to be the result of the 
commingling of the primary and secondary rays in varying 
proportions. These, with the primaries and secondaries, 
have been classified by dividing the colors shown in the 
spectrum into 24 distinct portions, which have been termed 
the full scale of spectrum hues. 

Fig. 2 shows these hues with the initials of the names by 
which they are known at present. 


6 


BACKGROUNDS 


§12 


8. Color Nomenclature. —It will be seen that between 
each pair of the six main colors of the spectrum there are 
located several colors that partake more or less of the colors 
between which they are situated, depending on their prox¬ 
imity to either one or the other. Thus, midway between 
red and orange is a hue in which the red and orange are 
about equally divided, which is therefore termed red-orange. 
Between this and red is a hue that is more red than orange, 
which is consequently called red-red-orange. On. the other 
side of red-orange is a hue that is more orange than red, 
and is therefore termed orange-7'ed-orange. This system of 
nomenclature is used throughout the entire scale. The 
figures at the top indicate the six principal colors, and those 
at the bottom the initials of the intermediate colors. 

Authorities differ in defining the term hue. In this section 
the term hue shall be taken to mean that aspect of a color 
by which it differs from any other color. Hue will therefore 
mean color pure and simple, be it single or compound. The 
hue of a color is modified by various admixtures of the other 
colors, thus giving rise to the infinite variety of hues. The 
principal hues derive their names according to the relative 
proportions of their components. Thus, when red and orange 
are mixed in equal proportions, both components are equally 
important, and the hue is termed red-orange or orange-red. 
If more red is added to this compound, the hue is termed 
red-red-orange. It will be seen from this that the number 
of hues is practically unlimited, being dependent only on 
the varying proportions of the components possible. It must 
be understood that these components need not necessarily be 
adjacent colors in the spectrum, but may be any of the colors. 
The scale of hues given in Fig. 2 has been adopted merely 
as a basis for a uniform nomenclature and thereby to assist 
in a rational classification of colors. 

9. Reflected Bights as a Source of Color. — Very few 
objects in nature reflect pure spectrum colors. While objects 
in themselves reflect some spectrum color, they also reflect 
to some extent colored lights that are thrown upon them by 


§12 


BACKGROUNDS 


7 


near or distant objects. These commingle with their indi¬ 
vidual reflections and thereby give rise to the infinite variety 
of hues observed in nature and art. The white light, as 
it comes from the sun, or, in a less pure state, from artificial 
sources, such as electric or gas light, is the true source of all 
colors. The surface of an object performs simply a selective 
function as to which of the component colors of the white 
light it will absorb and which it will reflect. For instance, 
if a flower appears yellow, it proves that its surface has the 
property of reflecting the yellow rays of white light and 
of absorbing the red and blue. Similarly, if a snow-covered 
ground appears white, it is because the snow crystals have the 
property of reflecting white light. This does not mean that 
they reflect all light received, because some is absorbed and 
lost. It follows as a consequence that in the dark, where there 
is an absence of light, there will also be an absence of color. 

This selective property of surfaces may be natural or arti¬ 
ficial. For instance, a piece of wood may reflect a brown 
light by reason of its natural surface, or it may reflect white 
light by reason of its being covered with a pigment (paint). 
A surface will reflect its true color only when it receives pure 
white light. If the light it receives is lacking in those par¬ 
ticular rays that the object is able to reflect, it is not in a 
position to reflect any rays. If, for example, a red-colored 
object is placed in a green light, it will receive no red rays 
which it can reflect, and as this object absorbs all but the red 
rays, it will reflect no rays and should, theoretically, appear 
black. In reality it will appear gray, because it is difficult 
to produce a true green and red color. Similarly, if an 
orange-colored object is submitted to the effects of a yellow 
light, it receives none but yellow rays to reflect, and will 
therefore appear yellow instead of orange. A familiar 
instance, but one not always understood, is the change in the 
appearance that a greenish-blue color undergoes while illu¬ 
minated by ordinary gas light. Such light is lacking in blue 
rays, while the yellow rays are predominating. The result 
is that the blue component will be somewhat suppressed 
and the color will assume a decided greenish hue; for which 


8 BACKGROUNDS § 12 

reason it is difficult to judge between green and blue by 
gas and lamp light. 

10. Normal Colors.— A normal, or pure, color is 
one that matches, or nearly matches, its representative in 
the solar spectrum. Thus, carmine ink (not aniline) is very 
near the normal or spectral red. Orange-chrome in water- 
color pigment is very near the normal orange, and aurora- 
yellow, in the same, comes very close to the normal yellow. 
Different writers designate normal colors by various terms, 
such as standard , positive, pure , dull, and saturated colors. 
But the term 7iormal seems preferable as it more clearly 
emphasizes the normal, or natural, state of a color when 
unaffected by light, shade, or other colors. 

The hue of a normal color is changed into a modified hue 
when a smaller quantity of another color has been added to it. 
Thus, yellow when tinged with green will assume a greenish- 
yellow hue, and is then said to be a greenish hue of yellow. 
In the compound words of which the nomenclature of hues 
is made up, the last name indicates the color family to which 
the hue belongs. Thus, green-yellow belongs to the yellows 
and yellow-green to the greens. 

When the color added to another color is in excess of 
the latter, the result is a hue of the added color, and from 
which the hue will receive its name. In other words, a 
modified hue takes its surname from the predominant color; 
its character is indicated by the name of the color that per¬ 
forms the modifying function. For instance, if to a yellow 
color is added so much orange as to predominate, it is no 
longer yellow, but yellow-orange. 

11. Chart of Primary and Secondary Colors. — Fig. 3 
is a chart showing the normal colors with their principal 
combinations, how they are produced, and which colors 
harmonize by contrast. To find how the various colors 
are derived from the primaries or secondaries it is only 
necessary to find the colors adjoining on either side. For 
instance, orange is situated between red and yellow, indi¬ 
cating that a mixture of these colors produces orange. A 


§12 


BACKGROUNDS 


9 


mixture of the secondaries orange and green produces the 
tertiary citrine. Other combinations are located along the 
outer edges of the primaries and secondaries. Beyond 
the orange and adjacent to the yellow is found yellow- 
orange, which is the result of mixing these two colors. 
Near the red is found the hue of red-orange, because this is 
a mixture of red and orange. Similarly, the derivation of 
any of the other hues may be ascertained. 

12. A Spectrum Diagram. —Fig. 4 is a chart in which 
the various colors are singly represented by name; it con¬ 
sists of a series of triangles partially overlapping one another. 
This diagram is commonly known as the color circle. Each 
of the apexes is marked with one of the main colors or 
its combinations. This chart should be reproduced on a 
quarter sheet of sign cardboard and placed in a conspicuous 
place, where it will serve as ready reference in cases of 
doubt as to the propriety of combining certain colors. 

As all the colors have their places somewhere between 
white light, which contains all colors, and darkness, which 
means absence of light and therefore of color, the white is 
located in the center of this chart and black at its exterior; 
the colors are arranged in the order in which they are 
found in the spectrum. This color circle may be said to 
represent the spectrum bent into a circular form. The tri¬ 
angle most heavily outlined represents the primary colors; 
the triangle with medium lines, secondary colors; and 
the two triangles with the thinnest lines, their principal 
combinations. 

The method of using the chart is very similar to that of 
Fig. 3. Selecting blue and red, it is seen that half way 
between these colors is purple, indicating that it is produced 
by mixing these two colors in equal proportions. The main 
combinations of these colors are found in a similar manner. 
For instance, purple and blue produce blue-purple, and 
purple and red, red-purple. The methods of using Figs. 3 
and 4 for finding complementary colors will be explained 
further on. 


10 


BACKGROUNDS 


§12 


13. Purity and luminosity.—While the main charac¬ 
teristic of a color is its hue, it has others that must be men¬ 
tioned and defined. First is purity , which is simply a rela¬ 
tive term and may be used in reference to any color. By a 
pure color is meant a color in its most intense form, one 
that is free from any admixture of white, black, or color, for 
which reason the spectral colors are taken as standards of 
purity. By this is not meant that it should be a bright color, 
because there are pure colors in the spectrum that are so 
weak as to be difficult to observe, while some bright colors 
used possess a large percentage of white. It should be 
remembered that the addition of white pigment to a color 
not alone makes it paler, but also effects a change in its hue. 
Next is luminosity , or brightness. Luminous colors are those 
that reflect large quantities of light. The most luminous 
color is orange-yellow; others are red, orange, yellow, and 
bright green. 


MODIFICATIONS OF COLORS IN TONE 

14. Tones.— White and black (or gray, a combination 
of both) play very important roles in changing the aspects 
of any color when mixed with them. As already stated, black, 
white, and gray are not colors, strictly speaking, though in 
common usage they are spoken of as such. White and black 
are the pigmentary representations of light and darkness, 
the intermediate gradations being represented by the grays. 
By the addition of any of these three colors to a normal 
color, three series of variations may be produced for any 
one color. Any one of these color variations is desig¬ 
nated by the term tone; a series of tones constitutes a 
scale of tones. 

15. Tints.—Adding white to a normal color or hue 
weakens or reduces its effect; tones produced by this means 
are termed tints. A series or scale of 10 tints of red 
may be produced in the manner indicated in Table I, 
in which the various tints are indicated by numbers and 



§12 


BACKGROUNDS 


11 


the respective percentages of its two components in the 
column below. 

TABLE I 


Tint Numbers 



i 

2 

3 

4 

5 

6 

7 

8 

9 

10 

Red, per cent. . 
White, per cent. 

95 

5 

90 

10 

1 

M 00 

Cn Ln 

8o 

20 

75 

25 

70 

30 

65 

35 

60 

40 

55 

45 

50 

50 


It is clear that the number of tints can be greatly increased 
beyond the number here given by simply making the differ¬ 
ence between the various tones less or by going below 
50 per cent, of the red. Here the mixing is followed to 
where the amount of red and white is evenly divided, but of 
course it can be continued far beyond this. A scale of tints 
is termed a reduced scale. 

16. Shades.—When black is added to a color it has a 
darkening effect without necessarily making it deeper. 
Tones of this nature are termed shades, and a scale of 
shades, produced in the same manner as the tints, is given 
below. 

TABLE II 


Shade Numbers 



1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

Red, per cent. . 

95 

90 

85 

80 

75 

70 

65 

60 

55 

50 

Black, per cent. 

5 

10 

15 

20 

25 

30 

35 

40 

45 

50 


A scale of shades is termed a darkened scale. 


17. Broken Tones.— The third series or scale is pro¬ 
duced by mixing a color with gray; these tones are called 
broken tones, and a scale made up of such tones is termed 
a dulled scale. It is unnecessary to add an example of 
this, as it may be produced in the same manner as was 















































12 


BACKGROUNDS 


§12 


indicated for tints and shades. It should be stated that the 
term scale is not necessarily limited to the admixture to any 
color of white or black, or both. It may also be applied to 
the case where a normal color is mixed with another color so 
as to produce a number of hues. A series of such hues is 
also termed a scale of hues. 

18. Illustration of Tints and Shades. — The rela¬ 
tive positions of tints and shades have been indicated in 
Fig. 4. For instance, on the line connecting blue with the 
white center is found a series of dots. An increase of this 
number of dots would indicate the series of tints and shades 
blue could assume by an admixture of white or black, respect¬ 
ively. The middle point of the line represents the normal 
blue and an advance toward white would indicate tints, and 
toward black, shades. 

Fig. 5 gives an indication of some tints of the leading 
colors. In the outer circle are arranged the normal colors, 
while the concentric circles contain tints that are gradually 
reduced by the addition of white, as the center is approached. 
It should be understood that the tints it is possible to make 
are not limited to the few here indicated, but that these are 
given merely as an example in order to indicate the possi¬ 
bilities of tint formation between white and the normal 
colors. 

As already stated, white and black pigments are merely 
substitutes for white light and absence of light, and as such 
they have their limitations. For instance, in the use of 
water-color pigments, tints are produced simply by the 
addition of water, the white paper on which the tints are 
laid serving the purpose of white pigment. The addition of 
water gives the paper more and more the opportunity of 
shining through in its natural white color, thus modifying 
the color being used. The addition of black pigments to 
certain colored ones, if in sufficient quantity, sometimes pro¬ 
duces an entirely different color instead of merely a shade 
of the same color. With some pigments the addition of 
dark-blue pigments produces clearer and more satisfactory 


§12 


BACKGROUNDS 


13 


shades than can be obtained with black pigments, which 
give a rusty or muddy appearance. All these apparent con- 
flictions with the theory of color is due to the limitations of 
pigments as reflectors of pure colored light. 

19. lleview of Terms.—A color may be at once both 
a hue and a tone. It is a hue in a scale of hues produced by 
the admixture of one or more other colors; and it is a tint 
or shade in a scale of tones produced by the admixture of 
white,black,or both (gray). Tints and shades are tones, but 
all tones are not tints and shades; they may be either one or 
the other, but cannot be both at once. These definitions 
should be carefully memorized, in order to avoid future con¬ 
fusion and because they are used ordinarily without due 
regard to their true meaning. It should also be noticed 
that any hue or tone may be used as a foundation tone 
for a scale of hues or tones. 


20. True Nature of Tertiary Colors. —When explain¬ 
ing the production of tertiary colors by means of Fig. 3, it 
was stated that by mixing orange and green the tertiary 
color citrine was produced. By subdividing the two sec¬ 
ondary colors thus combined, it is found that in reality the 
following colors were mixed: yellow, red, blue, yellow; that 
is, red, blue, and two yellows. As the mixture of red, blue, 
and yellow is supposed to produce an impure white or gray, 
it is seen that the color citrine in reality consists of gray and 
yellow. It may therefore be said that citrine belongs to what 
are termed broken colors. Similarly, the other tertiary colors 
will be found to be primary or secondary colors mixed 
with gray. 

Following is a list of the tertiary colors with their com¬ 
position: 

-r> ,/Red /Green 

RuSSet lGray ° hve lGray 

Brown(° range 
[Gray 

. /Yellow jj .. /Violet 

Cltrme lGray Heliotrope^ 


Slate 


Blue 

Gray 


14 


BACKGROUNDS 


§12 


It will be noticed that here are six tertiaries, while Fig. 3 
gives only three. These broken colors, produced by the addi¬ 
tion of black and white (gray) in varying proportions, may 
produce an almost unlimited variety of tints and shades of 
broken tones, as previously explained. 


PRINCIPAL COLOR HARMONIES IN 
DECORATIONS 

—-- 

. 

COTjOK combinations 

21. Classification. -Colors brought in juxtaposition 
to each other are said to be in harmony when their combined 
effect is pleasing to the eye and gives the impression of unity, j 
Harmony is subdivided into several classes that derive 
their names from the nature of the relationship between the 
colors in the combination. The classification here followed 
is that suggested by H. J. Bailey, and is as follows: 

Contrasted harmony is that which is produced by associating 
the colors with the neutrals —white, black, and gray —and 
with gold and silver. 

Dominant harmony is that which is produced by associating 
different tones of the same color scale. 

Compleme 7 itary harmo?iy is that which is produced by asso¬ 
ciating complementary or opposite colors; i. e., colors from 
opposite sides of the color circle. 

Analogous harmony is that which is produced by associating 
■distant but related tones of colors. 

Perfected harmony is that which is produced by associating 
colors in such proportions that their admixture produces 
white, or approximately so. 

All color harmonies are not of equal value, neither are all 
specific color harmonies equally pleasing to all persons. What 
is pleasing to one person is often repugnant to others. This 
fact gives rise to the great diversity in taste, but this does not 









§12 


BACKGROUNDS 


15 


necessarily invalidate the theory of color, because the fault 
may be that of the individual caused either by faulty associa¬ 
tions or by a partial development of his color sensibilities. 

22. Contrasted Harmony. —Little need be added to 
the definition already given. The harmony produced by 
associating any of the colors with the neutrals is, in general, 
one in which few errors can be made, because these combi¬ 
nations, as a rule, strengthen the associated colors by contrast. 
Following are given some rules and hints concerning the 
combinations for forming contrasted harmony: 

1. White. — Colors placed on a white background appear 
darker. No edging is required for ornaments, either colored 
or in gold, on white or black backgrounds. The tone of any 
color will be heightened when placed in contrast with white, 
which is useful in separating any two colors that do not 
combine well together. Some beautiful combinations with 
white are made by any of the following colors: light blue, 
rose, deep yellow, bright green, violet, and orange. The 
value of the combinations is in the order named, the first- 
named combinations being superior. 

2. Black. — Colors placed on a black background will 
appear lighter. The tone of any color placed in contact 
with black is appreciably lowered, but the human skin will 
appear whiter. Two luminous colors combine better with 
black than one somber and one luminous. The depth of a 
black background will suffer when it is combined with colors 
that have a bright complementary. 

3. Gray. — Orange, violet, green, and blue combine better 
with gray than with black. Gray heightens the brilliancy and 
purity of any primary color and is also useful in separating 
any two colors that do not combine well together. Gray is 
inferior to black and white in combinations with two lumi¬ 
nous colors. 

4. Gold.— Gold ornaments should have black outlines 
when placed against a colored background. Colored orna¬ 
ments on a gold background should be provided with edg¬ 
ings of a darker color. 


16 


BACKGROUNDS 


§12 


5. Silver does not assume the warm tones with colored 
backgrounds that gold does. 

23. Dominant Harmony. —In combinations of domi¬ 
nant harmony, the tints and shades of but one color are 
used, though the gray tones may also be used. While any 
of the tones of a given color will harmonize with one 
another, there is a difference in so far that all tones will not 
harmonize equally well. Tones that are close together in 
the scale result in softer effects than those farther apart, 
which often produce striking contrasts. In combinations of 
the latter class the darker tones should be reduced in amount. 
The same applies to luminous colors when combined with 
more neutral tints —the luminous tones should be reduced in 
visible area. 

Tables III and IV, compiled by M. M. Maycock, designate 
a number of pleasing combinations of the normal colors with 
their tones. In explanation of these tables it should be 
noticed that the normal colors are combined with tints and 
shades that are near together. By No. 1 tints and shades are 
meant tones that are nearer the normal color than No. 2. 
For instance, in Table III the combination No. 3 indicates 
that a normal orange is combined with a shade of orange 
that is somewhat darker than No. 1; combination No. 4 indi¬ 
cates that a tint very near to the normal orange is combined 
with a darker shade of the same. 

In Table IV the available tints are increased to five, while 
the number of shades remain the same. The method of 
using the table is the same with this difference, that, as each 
combination consists of three members, it is thus possible to 
further vary each combination. For instance, in combina¬ 
tion No. 9 a normal yellow is placed between a tint and a 
shade. This can be further varied by placing the normal 
color on either side of the two tones with either a shade or 
a tint near the normal. In cases where the figure 2 precedes 
any of the tones, as in combination No. 6, it means that there 
are two objects of the same tint of the color, and that the 
normal color is to be placed so as to separate the similar tints. 


§12 


BACKGROUNDS 


17 


In combination No. 4 the figure 2 refers to the normal color, 
and in combination No. 8 to the shades. 

Some of these combinations, though harmonious, may 
appear weak, in which case they may be strengthened 
by the display of a small amount of their complementary 
color or of a neutral, such as white, black, gray, or gold, 
or silver. 


TABLE III 


TWO-TONE HARMONIES 


Combi¬ 

nation 

Tints 

Color 

Shades 

No. 

No. 2 

No. 1 

Normal 

No. 1 

No. 2 

I 



Red 


Red 

2 


Red 


Red 


3 



Orange 


Orange 

4 


Orange 



Orange 

5 

Orange 



Orange 


6 



Yellow 

Yellow 


7 


Yellow 


Yellow 


8 

Yellow 




Yellow 

9 


Green 

Green 



IO 

Green 




Green 

11 

Green 



Green 


12 

Blue 


Blue 



13 


Blue 



Blue 

14 

Blue 



Blue 


15 



Violet 


Violet 

16 


Violet 


Violet 


17 

Violet 



Violet 


18 


Violet-red 

Violet-red 



19 

Violet-red 




Violet-red 

20 


Violet-red 



Violet-red 

21 

Green-blue 


Green-blue 



22 

Green-blue 



Green-blue 


23 


Green-blue 



Green-blue 

24 


Blue-violet 

Blue-violet 



25 

Blue-violet 



Blue-violet 


26 

Blue-violet 




Blue-violet 














































18 


BACKGROUNDS 


§12 


TABLE IV 

THREE-TONE HARMONIES 


Combi¬ 

nation 

Tints 

Color 

Shades 

No. 

No. 5 

No. 3 

No. 2 

No. i 

Normal 

No. i 

No. 2 

I 



Red 


Red 


Red 

2 



2 Red 


Red 



3 



Red 


Red 

Red 


4 

Red 




2 Red 



5 




Orange 

Orange 


Orange 

6 




2 Orange 

Orange 



7 





Orange 

Orange 

Orange 

8 






Orange 

2 Orange 

9 



Yellow 


Yellow 


Yellow 

IO 


Yellow 

Yellow 


Yellow 



ii 



Yellow 

Yellow 

Yellow 



12 



Yellow 

2 Yellow 




13 



Green 


Green 


Green 

14 



2 Green 


Green 



15 



Green 


2 Green 



16 



Blue 


Blue 


Blue 

17 



2 Blue 


Blue 



18 



Blue 

Blue 

Blue 



i? 



Blue 

2 Blue 




20 



Violet 


Violet 


Violet 

21 



2 Violet 


Violet 



22 



Violet 

Violet 

Violet 



23 



Violet 

2 Violet 





24. Complementary Harmony.—The two colors 
that constitute a complementary harmony are those that 
are situated diametrically opposite each other in the color 
circles shown in Figs. 3 and 4. Thus, yellow forms a perfect 
contrast with purple, blue with orange, yellow-green with 
red-purple, etc. By deviating from the color found diamet¬ 
rically opposite, either to one side or the other, less satis¬ 
factory combinations result. If, for instance, the question is 
to find a color that will harmonize with yellow, then, as 
already stated, purple is the most satisfactory. If, in place 
of this, either blue-purple or red-purple is selected, the 






















§12 


BACKGROUNDS 


19 


result is less harmonious, and complementary harmony will 
decrease the nearer we approach the yellow on either side. 
When the blue-green or the red-orange is reached, the har¬ 
mony is the most unsatisfactory. After these points are 
passed, the colors become more and more tinged with the 
yellow, and thus more and more related to it. We enter 
then into a combination that is called a ble?id or analogous 
harmony, which will improve as the yellow is approached, 
but be less satisfactory in the neighborhood either of the 
red-orange or blue-green. Following are some examples 
of color combinations producing complementary harmony: 

Red and blue-green 
Violet-red and green 
Orange-red and blue-green 

Orange and blue-green 
Red-orange and blue-green 
Yellow-orange and green-blue 

Yellow and violet-blue 
Orange-yellow and green-blue 
Green-yellow and violet 

Green and violet-red 
Yellow-green and red-violet 
Blue-green and red 

Blue and yellow 
Green-blue and yellow-orange 
Violet-blue and green-yellow 

Violet and green-yellow 
Blue-violet and green-yellow 
Red-violet and yellow-green 

Without the aid of the color circle in Fig. 4, the comple¬ 
mentary harmony may be found in the following manner: 
Select any of the three primary colors —red, yellow, and 
blue —and combine the remaining two; a harmonious com¬ 
bination will result. If, for instance, red is chosen, the 


20 


BACKGROUNDS 


§12 


yellow and blue remain. The latter two combined produce 
green; hence, red and green form a complementary harmony. 

Another means of ascertaining the complementary of a 
given color is to look intently at a spot of that color for 
a few minutes, and then immediately transfer the gaze to a 
white surface, such as a piece of white paper, continuing to 
look intently at one place. Gradually there will appear a 
spot equal in size and outline to that previously gazed at, 
but of a color complementary to it. Thus, when a yellow 
spot is looked at, a purple one will appear on the white 
surface. In explanation of this, it is said that the retina 
of the eye is covered with groups that consist of nerve 
terminals the elements of which are sensitive either to 
red, yellow, or blue rays, respectively. By looking at 
the yellow spot, those terminals most sensitive to yellow 
gradually become fatigued, while the others remain normal. 
When gazing on the white paper, the nerve terminals that 
transmit the yellow color sensation to the brain are able to 
do so only partially, while the others are acting normally. 
The result is that the red and blue rays in the white light 
reflected from the paper, will be transmitted to the brain in 
their full strength, while the yellow will be too weak to be 
noticed; consequently, the eye will apparently see a purple. 

All colorists do not accept every combination of comple¬ 
mentary colors as an entirely satisfactory harmony; some of 
the best avoid several of these combinations. This may be 
due to the difficulty of finding truly complementary colors 
by means of pigments. It is therefore usually necessary to 
add one or more of the neutrals or touches of colors not 
mentioned in the combinations given. It is claimed that 
better harmony is produced if the tint of one complementary 
is associated with the shade of the other complementary. 

Black, white, gray, gold, and silver may be used with all 
complementaries, but gold and silver must be used sparingly, 
as they are likely to make designs look gaudy. 

25. Analogous Harmony.—When two tones from two 
related scales, or scales that adjoin each other in the color 


12 


BACKGROUNDS 


21 


circle, are brought together, an a?ialogous harmony is pro¬ 
duced. They should preferably be of the same depth, or 
nearly so. For instance, all the variations in hue of a green 
color are analogous, and the colors used in producing an 
analogous harmony may vary in hue and tone so long as 
they do not pass into another and unrelated color family. 
In Fig. 5, the scales of green, yellow-green, and blue-green 
are all related and form analogous harmonies, especially 
those that are of similar intensity or strength of tone. But 
those that are too far apart in intensity often form strong 
contrasts, and are then termed contrasthig-a?ialogous tones. 
Analogous harmonies produce softer effects than those of 
distant and contrasting ones, which fact probably accounts 
for the strong preference of some colorists for analogous 
over contrasting or complementary harmonies. 

Table V is a partial list of analogous harmonies of tones 
arranged in the order of the colors, as compiled by M. M. 
Maycock. 

It is claimed by some authorities that no combination of 
colors can be in perfect harmony in which any of the three 
primaries are wanting. But this seems too broad and sweep¬ 
ing an assertion, as it would leave out of consideration all 
harmonious combinations except the perfected and comple¬ 
mentary ones. Most experienced trimmers know that among 
the displays that elicit the most favorable comment are those 
made up of various tones of the same color, known as “one- 
color trims.” Few trims are more handsome or attractive 
than the all-red, all-yellow, etc., in which all the merchandise, 
background, and lights are of one color in several tones. The 
main point in these combinations is to produce well-defined 
effects and to avoid anything that will produce confusion. 
In analogous harmony the colors are closely related in hue 
and very near together in the color circle, but when the 
limit of analogous harmony is passed, scarcely any combina¬ 
tions are satisfactory until the hues of the complementary 
colors are reached. Here the combinations increase in 
beauty until the opposite or perfect complementary contrast 
is reached. 


TABEE 


Shades 

No. 2 

Red 

Violet-red 

td 

> 

o 

Red ^ 

o 

Orange q 

cj 

Red-orange ^ 

Yellow-orange ^ 

Red-orange 

Orange-yellow 

Green-yellow 

Green-yellow 

Yellow 

Yellow 

Green-yellow c 'jOo 

i—i 

No. i 

Orange 

1 Red 

Red 

Orange-red 

Orange-red 

Red-orange 

Green-yellow 

Orange-yellow 

Sh 

G 

Normal 

Yellow-orange 

Yellow 

Tints 

6 

Orange 

Violet-red 

Orange-red 

Yellow-orange 

Red-orange 

Orange 

Yellow-orange 

Yellow 

No. 2 

Red 

Orange-red 

Orange-red 

Orange-red 

Orange 

Yellow-orange 

Yellow 

Yellow 

Orange-yellow 

Green-yellow 

Green-yellow 

Green-yellow 

Combi¬ 

nation 

No. 

hm cn vf o r^co OO r^co O' O 
























































* 


♦ 


t 






















PURPLE 








































. 



















* 
























































. 

















, 



- 








- 

' 

. 
























































YELLOW 



PURPLE 


391!* 


Fig. 5 











YELLOW 


BLUE 


ORANGE 




GREEN 






PURPLE 


RUSSET 


CITRINE 


. OLIVE 



RED 


ORANGE 



RUSSET 


YELLOW 




GREEN 


CITRINE 



BLUE 



PURPLE 



OLIVE 





RED 


ORANGE 



RUSSET 


YELLOW 



GREEN 


CITRINE 



BLUE 



PURPLE 



OLIVE 




I3Lue_ 


3919 


Pig. 6 





















































TABXjE T—(Continued) 


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§ 12 


BACKGROUNDS 


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24 


BACKGROUNDS 


12 


26. Perfected harmony is a color effect produced by 
combining colors in such proportions that their admixture 
will produce, or approximate, white (gray). These com¬ 
binations are nearly equivalent to complementary colors. 

It should be noted, that when for perfected harmony the 
condition is made that the admixture of the combined colors 
should result in white, this does not mean that these colors, 
as pigments, should be mixed together and thereby produce 
white. It is in this instance a question of areas; that is, 
when two or three colors are combined the visible areas of 
the materials representing the separate colors should be 
adjusted in such a manner as to produce a balance, optically 
or visually considered. How large the relative area of each 
color should be is found in Table VI. For instance, when 
red and blue-green silks are to be combined, then the visible 
part of the red silk should occupy 47 per cent, of the total 
area covered and the blue-green 53 per cent. If these pro¬ 
portions were reversed the red would be too prominent to 
give proper balance to the total effect. The figure after each 
color in the table means in all cases per cent., as it will be 
found that by adding the figures belonging to any one 
combination the sum will always be 100. 

Table VI shows examples of perfected harmony that have 
been compiled by M. M. Maycock. 

As the light rays reflected from any of these combinations 
would produce white (gray) if mingled, they are theoret¬ 
ically perfect harmonies. It is claimed that in practice hardly 
any of them give entire satisfaction without the use of one 
or more of the neutrals, or some touches of colors not given 
in the combinations. These additions of other colors are, 
however, allowable in any of the harmonies, and are often 
very advantageous. 


SIMULTANEOUS CONTRASTS 

27. Definition. — When pale and dark colors that are 
not complementary to one another are combined, a double 
effect is produced on each. First, the light one appears 
lighter and the dark one darker by reason of contrast; second, 



TABLE VI 



BACKGROUNDS 


25 


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26 


BACKGROUNDS 


§12 


each is affected in hue by what is termed simultaneous 
contrasts. The influence and effect of simultaneous con¬ 
trasts should be carefully studied, as it is an easy matter to 
injure two colors that are individually beautiful by a contrast 
in which both colors borrow from each other. (By the term 
borrow is here meant the fact that each color assumes a hue 
that is produced by the mixing of its own color with the 
complementary of its neighbor.) Some sort of edging that 
will prevent this detrimental influence is necessary in many 
color combinations. 

An idea of the effect of simultaneous contrasts may be 
had by studying the effects produced on different colors when 
brought near black, gray, and white, as illustrated in Fig. 6. 
Here it will be noticed that some colors show up best on a 
black background, others on gray, and that all appear well 
on white. The general effect of the black is to intensify the 
hues, though it distinctly dulls some of them; the tendency 
of gray is to neutralize them; while white makes most of 
them appear deeper in tone. 

The simultaneous contrast, as affecting any pair of adjoin¬ 
ing colors, maybe studied from Tables VII and VIII, which 
were compiled by A. H. Church. Its interpretation is shown 
by means of an example. Take, for instance, the first pair 
of red and orange. The table says that red, when thus 
combined, assumes a hue of purple, and that orange appears 
more yellow. The reason for this is that either color becomes 
combined with the complementary color of the other. The 
complementary color of orange is blue, and a hue of this is 
thrown over the red, giving it a more purplish appearance. 
The complementary color of red is green, a tinge of which 
will cover the orange, giving it a more yellowish tint. 

Table VIII shows that white increases the purity, deepens 
the tone, and emphasizes the hue; gray, if light, does much 
the same. Black increases the brightness but lowers the 
apparent purity of a color. 

28. Good and Bad Combinations Between the 
Principal Colors. —Table IX, compiled by A. H. Church, 


§12 


BACKGROUNDS 


27 


TABLE VII 


Colors 

Hue Toward 
Which Each Color 
Inclines 

Colors 

Hue Toward 
Which Each Color 
Inclines 

( Red. 

Purple 

f Orange .... 

Yellow 

1 Orange. 

Yellow 

(Violet. 

Blue 

i Red . 

Purple 

f Orange .... 

Yellow 

(Yellow. 

Green 

(Purple. 

Blue 

1 Red. 

More brilliant j 

(Yellow. 

Orange-yellow 

(Blue-green . . . 

More brilliant 

(Green. 

Blue-green 

1 Red. 

Orange-red 

f Yellow. 

Orange-yellow 

1 Blue. 

Green 

(Turquoise . . . 

Blue 

f Red. 

Orange-red 

J Green. 

Yellow-green 

(Violet . 

Blue 

(Blue. 

Violet 

(Red. 

Orange 

f Green. 

Yellow-green 

(Purple. 

Blue 

(Violet. 

Purple 

f Orange. 

Red-orange 

fGreen. 

More brilliant 

(Yellow. 

Green-yellow 

(Purple. 

More brilliant 

f Orange. 

Red-orange 

(Blue. 

Green 

(Green. 

Blue-green 

(Violet. 

Purple 

f Orange-yellow 

More brilliant 

(Violet. 

Blue 

1 Turquoise . . . 

More brilliant 

(Purple. 

Red 


TABLE VIII 


Combinations 

Results 

Combinations 

Results 

Red with white . . 

Deeper 

Green with black . 

Still brighter 

Red with gray . . . 

Brighter 

Blue with white . . 

Deeper 

Red with black . . 

Still brighter 

Blue with gray . . 

Deeper 

Orange with white . 

Deeper 

Blue with black . . 

Brighter 

Orange with gray . 

Deeper 

Violet with white . 

Deeper 

Orange with black . 

Brighter 

Violet with gray . 

Deeper 

Yellow with white . 

Deeper 

Violet with black . 

Duller 

Yellow with gray . 

Brighter 

Purple with white . 

Deeper 

Yellow with black . 

Still brighter 

Purple with gray . 

Deeper 

Green with white . 

Deeper 

Purple with black . 

Duller 

Green with gray . . 

Brighter 














































28 


BACKGROUNDS 


12 


indicates desirable combinations between the main colors and 
hues and also what combinations to avoid. By selecting any 
of the colors in the left-hand column and passing along 
to the right, it can be ascertained with which of the colors 
at the heads of the vertical columns it will combine to best 
advantage. Selecting blue in the first column and passing 
to the right, it is seen that it makes excellent combinations 
with red and orange-red; good combinations with scarlet, 
orange, orange-yellow, yellow-green, and green-yellow; but 
combines badly with blue-green. This procedure may also 
be reversed and any of the colors placed at the top of the 
columns selected, and then by descending along the corre¬ 
sponding column, ascertain how this color agrees with the 
colors placed in the first column to the left. For instance, 
selecting orange and descending down its column, it is seen 
that it combines well with violet and blue-green; fairly so 
with blue and blue-green; but badly with purple. In this 
manner the scope of the table is greatly enlarged. 

29. Excess of Contrasts and Their Modification. 
Great care should be taken in combining colors not to 
injure the purity of one by an excess of another. 

For instance, light blue and pink go nicely together, 
because neither is sufficiently intense to overpower the 
other. But an equal quantity of light blue and normal red 
will not harmonize, because the greater intensity of the red 
would overpower the blue and make it look sickly and faded. 
Thus, it will be seen that when the intensity of colors differ 
greatly, the quantity used of each must also differ in order 
to produce a harmonious combination; i. e., the intense color 
must be used in a much smaller quantity as a trimming or 
outline to the lighter one in a given decoration. 

Colors that contrast harshly may be blended into harmony 
by placing intermediate hues, tones, or the neutrals between 
them. Thus, black, white, or gray between strong bright 
colors neutralize them and prevent confliction. Very bright 
colors are detrimental to somber ones when juxtaposed. 

For general use those greens that approach the grays and 


TABLE IX 


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30 


BACKGROUNDS 


§12 


yellows are the most satisfactory. Figures in light colors 
may be used on dark grounds without outlining; but dark 
figures on light grounds should be outlined with a still 
darker tone of the same color as the figures. Figures of 
any color may be separated from grounds of other colors by 
an edging of white, black, or gold. 

When the colors of figures and ground contrast sharply, 
the former should be edged with a self-tint of its own color. 
For example, a red flower on a green ground should be 
outlined with a lighter red. 

To properly shade up relief figures in colors, paint the 
concave surfaces blue, as it is the retiring color; use yellow, 
which advances, on the convex surfaces; and red, the inter¬ 
mediate color, on the under sides. Separate the colors with 
white on the vertical planes. 

The lack of harmony in combinations of certain tones of 
yellow and red or blue and green, can be improved by 
placing between them some of their lighter tones. Strong 
and gay colors when juxtaposed are not so pleasing as some 
of the more subdued colors. 


COMBINATIONS OF TWO, THREE, FOUR, AND SIX COLORS 

30. The following lists of two-, three-, four-, and six-color 
combinations, in which the nomenclature is that of common 
usage, have been drawn from experience in window trim¬ 
ming, where they have been found to be very satisfactory. 
They are compiled chiefly from the lists of F. L. Carr and 
A. W. Frazer. 


Two-Color Combinations 


Cream with 


Nile green 
Mace yellow 
Light lavender 
Light blue 


( Salmon pink 
Turquoise blue 
Lavender 




§12 


BACKGROUNDS 


31 


Pearl gray with 


Salmon pink 
Rose pink 
Light blue 
Turquoise blue 
Lavender 


Brown with 


Nile green 
Light blue 
Pinkish purple 
Shrimp pink 


{ Nile green 
Lavender 
Turkish purple 

( Light yellow-green 
Ecru 

Very deep cream 

( Nasturtium yellow 
Nile green 
Light emerald green 


Three-Color Combinations 


Blue with 


Red and yellow 
Amber and cream 
Red and gold 

Pink and light orange-green 
Light blue and nile green 


( Amber and crimson 
Turquoise blue and emerald green 
Dark orange and green-brown 


__ ,, . , f Purple-red and greenish blue 

Yellow witm w , 1t 

[Violet and yellow-green 

, fOrange and green 
Violet with] , „ 

[Salmon and yellow-green 


Normal green with orange and turquoise. 
Yellow green with light yellow and dark purple. 





32 


BACKGROUNDS 


12 


Sage green with terra cotta and maroon. 

Light green with pink and sky blue. 

Dark green with light pink and pale sky blue. 

Dark red with lavender and clear purple. 

Dark red with navy blue and pale yellow. 

Orange-red with light salmon pink and mahogany brown. 

Crimson with apricot and dark golden brown. 

Purple with light rose pink and lavender. 

Four-Color Combinations 

Golden brown, mace yellow, yellowish green, and emerald 
green. 

Purplish red (or magenta), dark rose pink, blue, and light 
blue. 

Moss green, yellow, pinkish lavender, and royal purple. 
Six-Color Combinations 

Bluish green, yellowish olive, light orange, blue, light 
purple, and crimson. 

Dark blue, light greenish blue, dark blue-green, dark red, 
light yellow-green, and dark yellow-olive. 

Dark blue, light blue-green, turquoise, maroon, light yel¬ 
low, and orange. 

Light yellow, light yellowish olive, maroon, light crimson, 
salmon, and light yellow. 

In combining large numbers of colors it is best to select 
one and make it predominate by giving to it the principal 
space, or a special design, and use the others for trimming 
or outlining, or in some other subordinate capacity. 

31. Suitable Colors for the Various Complexions. 
In dry-goods establishments the trimmer is frequently 
appealed to as an authority on the question of the colors 
most suitable for different complexions. Besides this, his 
work calls for frequent use of wax figures, which are, of 
course, gotten up to imitate the different kinds of complex¬ 
ions, and consequently make it necessary for him to know 
what colors are most suitable for each, in order to avoid 


§12 


BACKGROUNDS 


33 


embarrassing errors, such as would tend to ruin the effect of 
an otherwise satisfactory display. The appended lists, com¬ 
piled by F. L. Carr, give the proper colors that may be 
safely worn by persons or shown on figures of the different 
complexions. 


All reds 

Brunettes 

Reddish purple 

Golden tan 

All pinks 

Royal purple 

Mauve 

Old rose 

Pinkish beige 

Navy blue 

Garnet 

Cream 

Pale sky blue 

Wine 

All yellows 

Pinkish gray 

Salmon 

Golden brown 

Black 

Orange 

Terra cotta 


Navy blue 

Blondes 

Pale pink 

Pale straw 

Dark blue 

Reddish brown 

Grayish tan 

Turquoise blue 

Heliotrope 

Beige 

Sky blue 

Pale olive 

Cream white 

Bluish purple 

Nile green 

Ivory white 

Brownish red 

Reseda green 

Light gray 

Garnet 

Olive green 

Bronze 

Nile green 

Dark green 

Red Blondes 

Dark brownish copper 

Sky blue 

Yellow greens 

Bluish violet 

Pearl gray 

Olive 

Dark purple 

Steel gray 

All dark greens 

Lavender 

Dark gray 

Medium blue 

Bronze 

Black 

Turquoise 

Dark brownish red 

Pure white 


A sallow complexion must avoid all cold colors and use 
warm colors and tones (tints and shades). A perfectly clear 
complexion may wear any color that does not clash with the 
color of the hair. 


34 


BACKGROUNDS 


§12 


TERMS USED IN COLOR WORK 

32. Colors are designated as warm or cold, according to 
their effect on the sensibilities. The warm colors are: red, 
orange, and yellow, and the combinations and tones in which 
they predominate. The cold colors are: blue, green, and 
violet, and the combinations and tones in which they pre¬ 
dominate. Orange is the warmest of all colors, and blue 
the coldest. 

It must be remembered, however, to avoid confusion of 
understanding, that admixtures of orange or other warm 
colors with blue, or other cold colors, give rise to what are 
termed warm blues, etc.; and that the reverse will produce 
cold oranges, etc., or at least much colder than the normal. 
Thus, all the colors may be varied from their natural warmth 
or coolness. 

Cold and warm colors are also called somber and luminous 
colors, respectively. 

That quality of a color by which it affects the colors 
that are associated with it is called its potentiality. In 
some colors this quality is more prominent than in others. 
When arranged according to their relative strengths, the 
colors occupy the following positions: yellow, orange, red, 
green, blue, and violet. 

When speaking of the value of a color, reference is had 
to its total effect among other colors, both as regards lumi¬ 
nosity and quantity. There is usually present one predomi¬ 
nating color that is taken as the unit and according to which 
the other color values must be adjusted in order to preserve 
a certain unity of effect. In combinations of black and white, 
black is usually selected as the unit, and the arrangement 
and gradation of the intermediate lights and shades is made 
with regard to the main unit. In combinations of other 
colors, white is mostly taken as the unit, and the other colors 
are adjusted in such a manner that they will not predominate 
over the white, either with regard to luminosity or quantity, 
but will occupy subordinate positions in order that the total 
effect may not be thrown out of balance. 


§12 


BACKGROUNDS 


35 


CHARACTERISTICS OF THE PRINCIPAE COEORS 

33. Blue gives the impression of coolness; it is restful 
and retiring. The lighter tints are very closely related to 
white, and when it is the purpose to make white give the 
impression of purity it is always given a bluish tint. On the 
other hand, when mixed with black, blue produces a black 
that gives the impression of greater depth than one more 
neutral in its hue. It is often given preference over the lat¬ 
ter because not inclined to look grayish in combination with 
some of the other colors. 

34. Violet is more pliable in its combinations than 
some of the colors. It associates well with green-yellow, 
yellow-green, orange, orange-yellow, yellow, gold, gray, 
and with orange and green, but poorly with red, purple, 
or blue, unless some intermediate tone or a neutral is 
used with it. 

35. Orange. — The darker shades of orange form pleas¬ 
ing combinations with subdued yellows, especially when a 
stripe or small figure of black is worked into the composition. 
They are frequently so used in regular work. Light orange 
is too bright to be used in decorations, except in small quan¬ 
tities. Yellow-orange or gold color is largely used for 
moldings, frames, nail heads, and linear surface ornaments, 
and is also a common material for surface covering. 

36. Green.— The most valuable office of green is to 
lend brilliancy to a design or composition. Light greens 
upon dark grounds produce pleasing effects; the reverse is 
less satisfactory. Light and grayish greens look well upon 
walls, either used alore or with stripes, figures, or borders 
of a darker tone. As it is very restful to the eyes, green is 
largely used in ceiling decoration. It also forms an agree¬ 
able harmony with white. Blue-green is difficult to combine 
with other colors. It combines best with gold and with red 
in small quantities. 


36 


BACKGROUNDS 


§12 


COLORS IN NATURE 

37. Nature affords the best study in color composition. 
When the student becomes sufficiently experienced to define 
hues, tints, and shades, and has trained his eye to obser¬ 
vation and his memory to retain the normal colors with 
their variations, he will learn much from nature’s combi¬ 
nations, be it in cloud effects, autumn tints of foliage, 
flowers, or insects, etc. 

It is noteworthy that nature uses but comparatively small 
quantities of the intense or bright colors. Her greens, grays, 
and browns are enlivened by but small touches of blue, red, 
orange, or other bright colors. It is always best, as far as 
possible, to preserve nature’s proportions when following 
her suggestions. 

Some of the color combinations most frequently met with 
are: The white and yellow of the daisy; the brown and yel¬ 
low of the sunflower; the yellow and purple of the pansy; 
the light salmon, yellowish-green, cream, and moss-green of 
the tea rose, which affords an ideal suggestion for a display 
of delicate tints; the beauty rose with its hues from violet to 
red, together with the tones of green in the leaves. The 
nasturtium with its tones of yellow and orange and the 
tender green foliage is a fine example of combining warm 
colors. A bunch of grapes, shaded from green to blue and 
violet will also be full of suggestions. Then there are the 
browns, pinks, greens, rose pinks, red, and grays of the 
autumn leaves as a source of inspiration. 


COLORS OF METALS 

38. Most metals, particularly gold, possess the remark¬ 
able and important property of at once harmonizing with 
and setting off ordinary colors and color combinations. For 
instance, the luster of the gold frames of painted pictures 
brings the frame so far forwards that the picture appears as 
if viewed through an opening. It also prevents the yellow 



§12 


BACKGROUNDS 


37 


of the gold from making discord with similar or discordant 
hues in the picture. 

Table X, which gives the colors of metals in their pure 
state, and Table XI, which gives suitable combinations 
between metals and colors, were compiled by A. H. Church. 


TABLE X 


Metal 

Color 

Metal 

Color 

Copper . . . 

Red 

Silver . . . 

Orange yellow 

Gold .... 

Orange 

Steel.... 

Neutral gray 

Lead .... 

Bluish gray 

Tin .... 

Grayish yellow 

Mercury . . 

Slate gray 

Zinc .... 

Bluish white 


TABLE XI 


Color 


Metal With Which It Will Combine 


Green . 

Red. 

Violet. 

Rose. 

White. 

Yellow. 

Dark or pur¬ 
plish brown . 
Orange-brown. 


Gold —20 carats, with a 4-carat silver alloy 
Gold —22 carats, with a 2-carat silver alloy 

Silver 


Gold —electrine of 16 carats of gold, 6 of 
silver, and 2 of copper 
Gold—20 to 22 carats 


EFFECT OF LIGHTS ON COLORS 

39. White light, when varied in strength, will give a dif¬ 
ferent hue to the various colors, as shown by Table XII, 
compiled by A. H. Church. 
























38 


BACKGROUNDS 


§12 


TABLE XII 


In Increased Light 


Normal Color 


In Reduced Light 


Scarlet 

Orange 

Yellow 

White 

Blue 

Blue 

Blue 

Red 


Blue-green 

Ultramarine 


Red 

Scarlet 

Orange 

Yellow 


Violet 

Purple 


Purple 

Red 

Brown 

Green 

Green 

Violet 

Purple 

Violet 


The effect that colored light will have on the hue of a 
color depends on how nearly it is related to the same in hue. 
Table XIII, by Church, gives the main variations. 

To find, by means of the table, how any color is affected 
by certain rays, find the color in the left-hand column and 
pass along toward the right until under the rays in question. 
If, for instance, it is desirable to know how yellow rays will 
affect blue, find the color blue in the first column and pass to 
the right until under yellow rays, where it is found that a 
blue color will assume a slaty-gray hue. 


GENERAL RULES FOR BEGINNERS 

40. For the beginner in trimming, who is usually a 
novice in the handling of colors, it will be best to confine the 
early combination of colors to arrangements of light and 
dark articles. That is, place the lightest articles between the 
darker ones and vice versa, and show light goods on dark 
grounds and dark goods on light grounds. Thus, by 
contrast of tones the various parts of the display will 
strengthen and bring out each other to the best advantage, 
and at the same time produce pleasing color effects. 

When required to display a number of articles of different 
colorings, they may be toned to an agreeable effect by dra¬ 
ping among them white or ecru laces, black or spangled 















TABLE XIII 


§12 


BACKGROUNDS 


39 





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40 


BACKGROUNDS 


§12 


trimmings, fringes, fur trimmings, etc., as may be selected 
from the various assortments of such things to be found 
in the average mercantile establishment. Thus, a display of 
dress goods, in the colorings of which were included rose 
pink, sky blue, light green, and medium green, was toned 
into entire harmony by draping between the stands brown fur 
trimmings. Likewise, a display of dark-red, purple, pale- 
lavender, light-green, and pale-pink silks was toned into per¬ 
fect harmony by the introduction of drapings of white lace. 

It sometimes happens that trimmers get results in color 
effects that do not seem entirely satisfactory, and yet it 
is difficult to tell just what is wrong. In such cases the 
trouble may often be solved by removing certain colors, one 
at a time, temporarily, in that way discovering the offending 
color, which can then be left out or replaced by one in better 
harmony. The removal or addition of a single colored piece 
will often make all the difference between harmony and 
discord, and the ability to detect what is superfluous or what 
is missing often requires painstaking study and patient try¬ 
ing out of the different colored units of a display. 

When required to display a large variety of colors, the 
use of a white or a cream-colored background will soften and 
harmonize all into a pleasing general effect. 

After a series of bright-colored displays, it is a good plan 
to put in one or two good displays in black and white as a 
relief and change. 

In conclusion, we must impress on the student the neces¬ 
sity of a thorough understanding of the principles of the 
association of colors that is to be derived from practice and 
observation. Therefore, he who would reach the highest 
degree of proficiency in this department of the art of decora¬ 
tion must never cease to study the effects of all possible and 
impossible combinations so as to become familiar with the 
bad, as well as the good, and to be ever prepared to produce 
those harmonious effects that contribute to good results. 


A SERIES OF QUESTIONS 


Relating to the Subjects 
Treated of in This Volume. 


It will be noticed that the questions contained in the fol¬ 
lowing pages are divided into sections corresponding to the 
sections of the text of the preceding pages, so that each 
section has a headline that is the same as the headline of 
the section to which the questions refer. No attempt should 
be made to answer any of the questions until the corre¬ 
sponding part of the text has been carefully studied. 








BACKGROUNDS 

(PART 1) 


EXAMINATION QUESTIONS 

(1) Aftertaste and versatility, what are the chief essen¬ 
tials to success in trimming? 

(2) How may these qualities be acquired? 

(3) Have you thoroughly practiced the work of this 
Instruction Paper? 

(4) How many times have you repeated the various 
operations? 

(5) Do you succeed in covering without the least sug¬ 
gestion of a wrinkle or fulness on any part of the surface of 
the space covered? 

(6) State frame used and time required to perform each 
style of covering, i. e., to do the work well, as it should be 
done. 

(7) Do you understand the purpose and handling of all 
tools shown in the outfit? If not, state which. 

(8) Explain in your own words the process of flat cov¬ 
ering for square surfaces. Give both methods. 

(9) What exception is there to the method of edge tack¬ 
ing shown in the illustrations? 

(10) What is meant by tacking by middles? 

(11) Describe in your own words the method of following 
curved lines in flat covering. 


§i 



2 BACKGROUNDS § 1 

(12) What do you understand by wrap covering, and for 
what purposes is it used? 

(13) How are torn, or raw, edges disposed of in wrap 
covering? 

(14) What are gimp tacks, and where should they be 
used? 

(15) When possible and convenient, send in a small 
photograph of the best examples of your practice work. 


BACKGROUNDS 

(PART 2) 


EXAMINATION QUESTIONS 

(1) (a) What are the three chief elements of trimming? 
(b) Under what other names will they be met? 

(2) (a) What is side plaiting? (b) How many kinds are 
there? (c) What are they? (d) Why is the distinction 
necessary? 

(3) How are spaces and goods treated before beginning 
the work of plaiting? 

(4) (a) How many turns have all plaits? (b) What are 
they? 

(5) (a) What are the relative positions of these turns in 
correct side plaiting? (b) Are these positions ever placed 
differently, and if so, for what purpose? 

(6) How should each width be finished and the new one 
started? 

(7) What is a box plait? 

(8) How do you space for box plaiting? 

(9) How is each width finished and the new one begun in 
box plaiting? 

(10) What is fulled plaiting and why is it so called? 

(11) Explain: (a) the manner of folding and threading 
the widths; (b) the proper way of mounting and tacking 

§2 



BACKGROUNDS 


2 


§2 


the heading; (c) the reason for irregular formation of the 
bottoms of these plaits. 

(12) What special advantage has this style of plaiting? 

(13) (a) What is ray plaiting? ( b) What other names 
are there for it? 

(14) When, and when not, may the lengths of material 
be cut equal for ray plaiting? 

(15) How are the widths plaited, mounted, and drawn 
out? 

(16) Explain: (a) a quick plan for making complete sun¬ 
bursts; (b) a proper method of securing equal spaces for 
all widths. 

(17) Describe ( a ) a saw-tooth draping; ( b ) shelf draping; 
(c) hour-glass draping. 

(18) ( a) Why is wave plaiting so called? (b) What does 
it resemble? 

(19) How may the top and tacking lines be finished? 

(20) State the result of your practice, number of times 
repeated, and the best time in which you can do each kind of 
plaiting neatly and well. Mention any difficulties you have 
encountered, and send small photos of your best work, if 
you can. 


BACKGROUNDS 

(PART 3) 


EXAMINATION QUESTIONS 

(1) What do you understand by the term puff? 

(2) When is the term shirring applied to puffing? 

(3) What kind of shirring produces the best results? 

(4) What are some of the chief uses for shirred puffing? 

(5) How is the closeness of crinkle usually determined? 

(6) (a) Explain the spacing and lengths of material for 
this work. ( b) Wherein do these differ from those of wave 
plaiting? 

(7) (a) How are the crinkles retained? (b) Why are 
not the retaining pins to be bent over as in plaiting? 

(8) (a) How should shirred spaces appear? ( b) How 
are the lines between the widths obliterated? 

(9) For whom, for what spaces, and why, is the method 
taught the best? 

(10) What is the purpose of edging? 

(11) How are the widths of material and fulness for 
edging regulated? 

(12) How does the mounting here differ from that for 
surface shirring? 

(13) What is the first move after mounting the goods? 

§3 



2 


BACKGROUNDS 


4 


(14) How are letters and figures further embellished, and 
mention another way of trimming them? 

(15) How many times have you practiced each kind of 
work in this Paper? Mention any difficulties encountered, 
and if possible send small photos of your best work. 


BACKGROUNDS 

(PART 5) 


EXAMINATION QUESTIONS 

(1) What is the approximate proportion of the material 
to be smocked to the space to be decorated? 

(2) Describe, in your own words, the manner of preparing 
the smocking. 

(3) How should it be mounted, and the edges finished? 

(4) How is tiling used? 

(5) Describe the layout and two ways of fastening 
the tiles. 

(6) ( a) Mention some goods that form excellent tiles; 
(b) also some sources from which to study tile designs. 

(7) (a) What is paneling? {b) What materials are com¬ 
monly used? 

(8) What surface condition is absolutely necessary? 

(9) What is the best method of laying out for panel 
work, and why? 

(10) Do you thoroughly understand the measurements 
for the sample paneling illustrated, and the use of the 
miter-box? 

(11) How may the general effect of paneled designs be 
changed without altering the shape of the panels? 

§5 



2 BACKGROUNDS § 5 

(12) What do you understand by the suggestion for 
mirror panels? 

(13) ( a ) What are denims? ( b ) Mention other materials 
that may be similarly used. 

(14) ( a ) Describe the application of these to panel 
designs. ( b) Mention other places where they are useful. 
State time of successful practice work and send in pictures, 
if convenient. 


BACKGROUNDS 

(PART G) 


EXAMINATION QUESTIONS 

(1) For what kind of designs is stencil work best 
adapted? 

(2) Of what material are stencils for decorating pur¬ 
poses generally made? 

(3) What kind of surface is required for this work? 

(4) How is the color applied over stencils, and why? 

(5) How would you treat end and ceiling spaces? 

(6) Describe, in your own words, the drawing of an oval. 

(7) Mention other purposes in which quick oval drawing 
is useful. 

(8) What do you understand by fresco decorations? 

(9) Describe the surface requirements for a good job in 
frescoing. 

(10) How may the showing of cloth seams be avoided? 

(11) What is the purpose of sizing, or priming, as it is 
also called? 

(12) What tools and materials are necessary? 

(13) Mention three kinds of ready-made relief designs? 

(14) Describe the work of stippling. 

(15) What do you understand by high lighting? 

(16) How is high light easily applied? 

86 



2 BACKGROUNDS §6 

(17) How are bulbs and tubes to be treated in working 
hand relief? 

(18) What is the easiest way of applying dry bronze, 
or glitter? 

(19) Mention how glue may be prepared to avoid dis¬ 
coloring. 

(20) State result of your practice work, mentioning any 
difficulties you have encountered, and send in small pictures 
of your best work when you can. 


BACKGROUNDS 

(PART 7) 


EXAMINATION QUESTIONS 

(1) How may frescoed surfaces be utilized? 

(2) ( a) What is onyx paper? (b) What is the sheet 
size? 

(3) Where may it be used to especial advantage? 

(4) Describe the use of wall paper for panel effect. 

(5) When are wall-paper backgrounds especially desir¬ 
able? 

(6) In what departmental display is this idea much used? 

(7) Describe, in your own words, scroll cutting. 

(8) How and where should stock scrolls be made? 

(9) What is the object of crossing the grain of several 
thicknesses of wood in scroll construction? 

(10) Where may the application of scrolls be studied to 
advantage? 

(11) (a) How are the ornamental designs shown in 
Fig. 15 used in display work? (b) Name what you can 
of them. 

(12) Submit rough sketches of a couple of the best 
designs you can originate from the ornamental forms shown 
in Fig. 15. 


§7 



























, 



















BACKGROUNDS 

(PART 8) 


EXAMINATION QUESTIONS 

(1) What do you understand by latticework? 

(2) How is it most commonly used? 

(3) Of what two general shapes are the open spaces? 

(4) Give a list of the materials most generally used for 
making lattices. 

(5) Where would you start the latticing on an arch? 

(6) How would you regulate the spacing? 

(7) How are crape paper and ribbons sometimes arranged 
in latticing? 

(8) What trimmings are used to further embellish lattice- 
work? 

(9) In what two ways may cheese cloth be used for 
lattices? 

(10) What is tarlatan? 

(11) For what material may it be used as a substitute, 
and how? 

(12) (a) When so used what does it require? ( b ) Why? 

(13) Mention a common use where it shows up very 
prettily. 

(14) For what decorative effect does it afford a sub¬ 
stitute? 


§8 



2 


BACKGROUNDS 


§8 


(15) Describe how it may be handled in flat-covering on 
arched or scroll-design frame. 

(16) (a) How may joints, or seams, be managed? 
(b) How avoided? 

(17) Describe how the foliage and flowers are applied? 

(18) What rule of good taste is herein stated? 

(19) What general plan is followed in attaching the 
flowers? 

(20) State the rule for wrap-covering the framework; 
also mention any difficulty you may have encountered in 
practicing the work. Send pictures of your best efforts, 
if convenient. 


BACKGROUNDS 

(PART 9) 


EXAMINATION QUESTIONS 

(1) How may crape paper be used? 

(2) For what are ruffles generally used? 

(3) How would you make a wide edging of crape paper? 

(4) How is the ruffled effect of the edges produced? 

(5) How may the paper be mounted so as to conceal the 
fastenings without using an extra strip of paper? 

(6) What is the effect of this method? 

(7) How are flounce and balance effects produced? 

(8) How should a piece of crape paper be cut for making 
rope? 

(9) Describe, in your own words, the correct methods of 
twisting the strands, and of twisting these together into 
roping. 

(10) Mention two ways of assorting colors for roping. 

(11) What is said of the advantages of tassels? 

(12) How should the paper be cut and folded for tassels? 

(13) Describe, in your own words, the making of a tassel, 
from the introduction of the twine to the finish, as shown in 
Fig. 29. 


§9 



2 


BACKGROUNDS 


§9 


(14) Explain how the tassel and roping are attached? 

(15) Mention any difficulties you may have encountered 
in practicing the work; and if convenient, send a couple small 
pictures of your best work. 


BACKGROUNDS 

(PART 10) 


EXAMINATION QUESTIONS 

(1) What do you understand by the term festooning? 

(2) What is the reason for plaiting on the bias in making 
up festoons? 

(3) What is silkaline? 

(4) (a) What is the fan festoon? ( b) Why is it so 

called? 

(5) Describe, in your own words, this method of fes¬ 
tooning 1 . 

(6) How may the outline of fan festooning be varied? 

(7) (a) What is turned festooning? (b) Why so called? 
(c) To what kind of draperies is it best adapted? 

(8) Give a full description, in your own words, of the 
manner of making up this style of festoons. 

(9) What is an easy way to regulate the sag, or drop, 
of the top fold? 

(10) Explain why it is necessary to twist the goods at 
the plaited points. 

(11) Describe the use of fringes. 

(12) What is the difference between plain and rosette 
festoons? 



2 BACKGROUNDS § 10 

(13) Describe the method of making festooning with 
wheel rosettes. 

(14) State some of the advantages of turban-rosette 
festooning. 

(15) Describe the making up of this style of festooning. 

(16) What do you understand by the rosette allowance? 

(17) How is the length of material calculated for rosetted 
draperies? 

(18) Do you succeed in making a good turban rosette? 

(19) How do trimmers provide themselves with handy 
measures? 

(20) What is the object of the box-plait start in the cross- 
plaiting for turban-rosette festoons? 

(21) (a) Explain the method of tying for turban rosettes. 
(b) Give reasons for the particularness of this work. 

(22) Describe intertwined festooning. 

(23) Describe the making and use of separate tabs. 

(24) How are ribbons and smilax used with festooning? 

(25) Mention any difficulties encountered, and submit 
pictures of your best work. 


BACKGROUNDS 

(PART 11) 

EXAMINATION QUESTIONS 

(1) (a) What are portieres? ( b ) How are top ends 
known? 

(2) To what are curtains usually hung? 

(3) Describe a simple manner of hanging portieres. 

(4) How is this style further embellished? 

(5) How would you decorate a large space by this plan? 

(6) Explain the usual manner of hanging lace and heavy 
curtains in combination. 

(7) What are some of the advantages of lace curtains? 

(8) Describe the fan drapes for head-decoration. 

(9) In what simple manner are lace curtains sometimes 
used? 

(10) Describe some ways of draping curtains at the sides. 

(11) How may curtains be hung so as to leave the pole 
free to carry festoons of other materials for head-decoration? 

(12) Explain the use of pin hooks and rings in curtain 
hanging. 

(13) Mention some lines of goods that can furnish their 
own backgrounds. 


Hi 



BACKGROUNDS 


11 


2 


(14) How is dress goods often used as a background? 

(15) What do you understand by a cplor scheme? 

(16) From what are you to study background work in 
subsequent parts of this Course? 


BACKGROUNDS 

(PART 12) 


EXAMINATION QUESTIONS 

(1) In what two ways may colors be studied? 

(2) What purpose does color serve in both nature 
and art? 

(3) What is the tendency of trimmers with regard to 
colors in display? 

(4) What is the nature of color as scientifically 
ascertained? 

(5) (a) What is the spectrum? ( b) Describe how it 
is obtained. 

(6) (a) What are primary colors? ( b) Name them. 

(7) (a) What are secondary colors? (b) Name them. 

(8) Describe the results of the demonstration illustrated 
in Fig. 1. 

(9) What term is applied to the intermediate spec¬ 
trum colors? 

(10) What is the more comprehensive meaning of the 
term hue? 

(11) Explain the scientific system of nomenclature for 
the intermediate hues. 

(12) (a) What is a normal color? (b) What other terms 
are used in the same sense? 


§12 



2 


BACKGROUNDS 


§12 


(13) Explain the charts illustrated in Figs. 3 and 4. 

(14) What is meant by purity and luminosity as applied 
to colors? 

(15) ( a ) What are tones? (b) When are tones tints, 
and when shades? (c) What are broken tones? 

(16) Name the tertiary colors and explain their true 
nature. 

(17) (a) What is harmony? ( b) How many kinds of 
harmony are there? ( c ) Explain each kind and give one or 
two examples of each. 

(18) (a) How are colors affected by simultaneous con¬ 
trast? (b) Give a few examples. 

(19) What is the rule for combining strong with weak 
colors where there is an excess of contrast? 

(20) How may colors that contrast harshly be brought 
into harmony? 

(21) What colors are best suited: (a) for blondes? 
(b) for brunettes? (c) for red blondes? 

(22) What are: (a) warm colors? (b) cold colors? Name 
some of each? 

(23) What is said of colors in nature as a source of 
inspiration? 

(24) (a) What are the colors of the * principal metals? 
(b) With what colors does each accord best? 

(25) Explain some of the general rules laid down for 
beginners. 


INDEX 


All items in this index refer first to the section number,—which is printed on the inside 
edges of the headlines and is preceded by the printers’ section mark g,—and then to the page 
number. Thus, Application of denims 5 18, means find the paper having §5 on the 

headlines and then find page 18. 


A 

Sec. Page 


Sec. Page 

Advantages of crape-paper tassels 

9 

15 Colors, Classification of. 

12 

14 

lace curtains . . . 

11 

11 

Combinations of. 

12 

28 

paneling. 

5 

10 

Combinations of three, 



stencils. 

6 

1 

four, and six. 

12 

32 

stock backgrounds 

11 

34 

Complementary. 

12 

19 

tarlatan. 

8 

12 

Contrasted. 

12 

14 

“ “ tiling. 

5 

6 

Dominant. 

12 

15 

turban rosette fes- 



Effect of lights on ... . 

12 

38 

tooning. 

10 

16 

Fundamental. 

12 

1 

Analogous harmony of colors . . 

12 

21 

in nature. 

12 

36 

Application of denims. 

5 

18 

Intermediate. 

12 

5 

fresco decorations 

6 

15 

Methods of studying . . . 

. 12 

2 

• “ stencils. 

6 

1 

Nomenclature of. 

12 

6 

wall papers .... 

7 

1 

Normal . 

12 

8 




of metals. 

12 

37 

B 



Perfected harmony of . . 

12 

24 

Bad and good color combina- 



Primary and secondary . 

12 

4 

tions . 

12 

29 

“ Purity and luminosity of. 

12 

10 

Ball puffing. 

4 

1 

“ Reflected lights as a 



“ puff rosette. 

4 

7 

source of. 

12 

6 

Best color combinations with 



Shades of. 

12 

11 

metals . 

12 

38 

“ Simultaneous contrasts 



Box covering. 

1 

18 

of. 

12 

26 

“ plaiting. 

2 

7 

“ Spectrum diagram of . . 

12 

9 

Broken colors and tones. 

12 

11 

“ Suitable, for various com- 






plexions. 

12 

33 

C 



“ Three-tone harmonies of . 

12 

18 

Color combinations, Good and bad 

12 

28 

“ True nature of tertiary . . 

12 

13 

“ contrasts and their modifi- 



“ Warm, cold, and lumi- 



cation. 

12 

28 

nous. 

12 

35 

“ in decoration. 

12 

1 Combination wrench. 

1 

4 

“ Nature of. 

12 

3 Combinations of colors. 

12 

28 

“ terms. 

12 

12 

“ three, four, and 



“ ■ work, Terms used in ... 

12 

34 

six colors . . 

12 

32 

Colors, Analogous harmony of . 

12 

21 

“ two colors . . . 

12 

31 

“ Characteristics of the prin- 


Construction of crape-paper roping 

9 

12 

cipal. 

12 

35 

ruffles 

9 

1 

“ Chart of primary and sec- 



“ “ “ “ tassel 

9 

15 

ondary . 

12 

8 

“ fan festooning . . 

10 

1 


IX 


















































X 


INDEX 




Sec. Page 


Construction of ovals. 6 7 

“ paneling:. 5 12 

“ scrolls. 7 5 

“ separate tabs . . 10 31 

“ tiling:. 5 9 

“ turban rosette . . 10 20 

“ wheel rosette . . 10 10 

Covering:, Box. 1 18 

Circular. 1 13 

“ Flat. 1 5 

Square. 1 5 

“ Step. 1 18 

“ Wrap . 1 18 

Crape-paper roping-. 9 12 

“ ruffles. 9 1 

“ tassels. 9 15 

Cross-plaiting in fan festooning . 10 2 

Cutting pliers. 1 4 

“ strips for crape-paper 

roping. 9 11 

D 

Decoration, Color in. 12 1 

Definitions of color harmony . . 12 14 

“ hue in colors ... 12 6 

portieres . 11 1 

Denims, Use of. 5 18 

Designs with scrolls. 7 14 

Diagram of the spectrum .... 12 9 

showing tints and shades 12 11 

Dominant color harmony .... 12 14 

Draftsman’s rule. 1 4 

Draping, Hour-glass. 2 26 

lace curtains. 11 12 

portieres. 11 1 

Saw-tooth style of . . . 2 24 

shelves. 2 24 

stock backgrounds ... 11 35 

Drawing an oval. 6 7 

E 

Edgings, Ball puff. 4 1 

“ Fulled puff. 4 13 

Shirred puff. 3 10 

Effect of colors in contrast .... 12 14 

“ “ colored lights on colors . 12 39 

“ “ reflected lights on colors 12 16 

“ “ white light on colors . . 12 38 

Excess of color contrasts and 
modifications. 12 28 

F 

Fan festooning. 10 2 

Fancy scroll designs. 7 14 


Sec. Page 


Festooning. 10 1 

Tarlatan. 8 13 

Festoons, Fan. 10 1 

Intertwined. 10 29 

Turban rosette .... 10 16 

Turned. 10 4 

Wheel rosette. 10 10 

Figure puffing. 4 20 

Fixtures, Special. 7 11 

Flat covering. 1 5 

Foliage trimmings. 8 18 

Formation of turban. 10 20 

wheel rosette ... 10 12 

Forms used in trimming. 2 1 

Four-color combinations. 12 32 

Frames for latticework. 1 4 

practice work .... 8 1 

Framework of scrolls. 7 15 

Fresco decorations, Application of 6 15 

Pointers in . 6 22 


Preparation of 

surface for 6 10 

Stippling in . 6 20 

Tools and ma¬ 
terials used 


in. 6 15 

Frescoing. 6 1 

Fretwork and grilles. 7 15 

Fringes for festoons. 10 9 

Fulled plaiting. 2 7 

puff edging. 4 13 

festooning. 4 19 

rosette. 4 18 

puffing. 4 13 

Fundamental colors.12 1 


G 


General color rules for beginners 12 40 

Gimp tacks. 1 18 

Good and bad color combina¬ 
tions . 12 28 

Grilles and fretwork. 7 15 

II 

Hanging portieres. 11 1 

lace curtains. 11 12 

Harmonies of two tones. 12 17 

Harmony, Analogous. 12 21 

Complementary .... 12 19 

Contrasted. 12 14 

Dominant. 12 14 

Perfected. 12 24 

Hollow-handle tool outfit. 1 4 

Hour-glass drape. 2 26 

Hue, Definition of. 12 6 






































































INDEX 


xi 


I Sec. 

Illustration of tints and shades . . 12 

Interlaced ball puffing. 4 

Intermediate colors . 12 

Intertwined festooning. 10 

L 

Lace curtains, Hanging and dra¬ 
ping . 11 

Use of, in trim¬ 
ming . 11 

Lattices, Materials and frames for 8 

Trimming. 8 

Left plaiting. 2 

Letter puffing. 4 

Level, Spirit . 1 

Light effects on colors. 12 

The spectrum of. 12 

List of complementary color har¬ 
monies . 12 

“ “ four-color combinations . 12 

“ “ metal colors ....... 12 

“ “ six-color combinations . 12 

tertiary colors. 12 

“ “ three-color combinations 12 

Luminosity of colors. 12 

Luminous colors. 12 

M 

Main plaiting for fan festooning . 10 

Making crape-paper roping ... 9 

ruffles .... 9 

“ “ “ tassels ... 9 

scrolls. 7 

turban rosettes. 10 

wheel rosettes. 10 

Materials for frescoing. 6 

“ intertwined festoons 10 

“ lattices. 8 

“ paneling. 5 

“ portieres. 11 

“ smocking. 5 

“ “ turban-rosette fes¬ 
toons . 10 

Mattress needle. 1 

Metal and color combinations . . 12 

“ colors. 12 

Methods of fastening tarlatan . . 8 

“ “ flat covering. 1 

“ “ studying colors ... 12 

Miter box, Use of. 5 

Modification of color quantities . 12 

N 

Nature and colors. 12 

“ of colors. 12 

“ “ tertiary colors. 12 


Sec. Page 


Necessary tools for trimming . . 1 3 

Needle, Mattress. 1 4 

Nomenclature of colors. 12 6 

Normal colors. 12 8 

O 

Onyx paper, Use of. 7 1 

Ornaments, Useful. 7 11 

Outfit of frames. 1 4 

tools. 1 3 

Oval outlining. 6 7 

P 

Paneling. 5 10 

construction. 5 12 

Miter box in. 5 16 

of wall paper. 7 2 

Papers, Crape . 9 1 

Wall and onyx. 7 1 

Perfected harmony. 12 24 

Plaitings. 2 1 

“ Box. 2 7 

Fan-festoon . 10 1 

“ Fulled. 2 7 

Hour-glass. 2 26 

“ Ray. 2 13 

Saw-tooth. 2 24 

“ Side. 2 1 

Smocking. 5 1 

Sunburst. 2 21 

“ Turned. 10 4 

“ Wall-shelf. 2 24 

“ Wave. 2 26 

Pointers on fresco work. 6 22 

Portieres. H 1 

Potentiality as applied to colors . 12 35 

Practice frames. 1 4 

Preparation of surface for fresco¬ 
ing . 6 10 

of surface for panel¬ 
ing . 5 10 

Primary and secondary colors . . 12 4 

“ secondary color chart 12 8 

“ forms used in trimming 2 1 

Process of intertwining festoons . 10 30 

Puffed letters and figures. 4 20 

“ wreath and scroll. 4 18 

Puffings. 3 1 

“ Ball. 4 1 

“ edging. 3 10 

“ “ rosette. 4 7 

“ Fulled. 4 13 

“ “ edging. 4 13 

“ “ rosette. 4 18 

Interlaced. 4 6 


Page 

11 

6 

1 

29 

12 

11 

1 

8 

1 

20 

4 

38 

4 

19 

31 

37 

32 

13 

31 

9 

34 

1 

11 

1 

15 

5 

20 

12 

15 

29 

1 

10 

1 

1 

19 

4 

38 

37 

13 

5 

2 

16 

28 

36 

3 

13 





















































































Xll 


INDEX 



Sec. 

Page 


Sec. 

Page 

Puffings,Pasted. 

4 

20 

Suitable colors for various com- 



Scroll. 

4 

18 

plexions. 

12 

33 

Shirred. 

3 

1 

Sunbursts. 

2 

21 

edging. 

3 

10 

Surface draping. 

1 

5 

rosette. 

3 

15 

preparation for flat cover- 



“ Wreath. 

4 

18 

ing. 

1 

5 

Purity and luminosity of colors . 

12 

9 

for frescoing 

6 

10 

Purpose of color. 

12 

2 

paneling 

5 

10 

R 



T 



Ray plaiting, for shelves. 

2 

24 

Table of analogous colors .... 

12 

22 

Hour-glass shape . 

2 

26 

color combinations . . . 

12 

29 

Regular. 

2 

13 

shades . 

12 

11 

Reflected lights. 

12 

6 

tints. 

12 

10 

Regulation of color areas .... 

12 

28 

metal and color combi- 



Review of color terms. 

12 

12 

nations .... 

12 

38 

Right-side plaiting. 

2 

1 

colors. 

12 

37 

Roping of crape paper. 

9 

11 

perfected harmonies . . 

12 

25 

Rosettes, Ball puff. 

4 

7 

simultaneous contrasts 

12 

27 

Fulled puff. 

4 

18 

Tabs, Separate. 

10 

31 

Shirred puff. 

3 

15 

Tacks, Gimp. 

1 

18 

Turban . 

10 

16 

Tassel, Crape-paper. 

9 

15 

“ Wheel. 

10 

10 

Tarlatan work. 

8 

12 

Round covering. 

1 

13 

Method of fasten- 



Ruffles, Crape-paper. 

9 

1 

ing. 

8 

13 

Rule, Draftsman’s. 

1 

4 

Method of trim- 



Rules for beginners in color work 

12 

40 

ming. 

8 

18 




Terms used in color work .... 

12 

34 

S 



Tertiary colors. The. 

12 

13 

Saw-tooth draping. 

2 

24 

Three-color combinations .... 

12 

32 

Scale of hues of color. 

12 

5 

tone harmonies. 

12 

17 

Scrolls. 

7 

14 

Tiling. 

5 

6 

Making. 

7 

5 

Construction of. 

5 

9 

Puffing. 

4 

18 

Tints of color. 

12 

10 

Secondary and primary color chart 

12 

8 

Tones of color. 

12 

10 

colors. 

12 

4 

Tool-handle, Hollow. 

1 

4 

Separate tabs for festoons .... 

10 

31 

outfit. 

1 

3 

Shades of colors. 

12 

11 

Tools and materials for frescoing 

6 

15 

Shelf draping. 

2 

24 

Trimming for lattices. 

8 

8 

Shirred edging. 

3 

10 

True nature of tertiary colors . . 

12 

13 

puffing. 

3 

1 

Turban rosette. 

10 

16 

rosette. 

3 

15 

festooning .... 

10 

16 

Side plaiting. 

2 

1 


10 

20 

Simultaneous contrast of colors . 

12 

26 

festooning, Materi- 



Six-color combinations. 

12 

32 

als used in . . . 

10 

19 

Smocking . 

5 

1 

Turned festooning. 

10 

4 

Special colors. 

12 

4 

Twisting of turned festoons . . . 

10 

5 

diagram. 

12 

9 

Two-color combinations. 

12 

31 

fixtures . 

7 

11 

tone harmonies. 

12 

17 

Spectrum, The. 

12 

4 

U 



Spirit level. 

1 

4 

Useful ornaments. 

7 

11 

Square covering. 

1 

5 

Use of crape-paper tassels .... 

9 

15 

Stencil work. 

G 

1 

miter box. 

5 

16 

Step covering. 

1 

5 

onyx paper ........ 

7 

1 

Stippling. 

6 

20 

scrolls. 

7 

11 

Stock backgrounds . 

11 

34 

wall papers. 

7 

1 














































































INDEX 


xiii 


V 

Sec. 

Page 


Sec. 

Page 

Varieties of denims. 

. . 5 

18 

Wire-cutting: pliers. 

1 

4 

wall papers . . . 

. . 7 

1 

Working: outfits, Frames in . . 

1 

4 

W 



Tools in . . . 

1 

3 



Work of frescoing:. 

6 

10 

Wall-paper decorations . . . 


1 

interlacing: puffing: . . 

4 

6 

paneling:. 

. . 7 

2 

intertwining: festoons 

. 10 

30 

shelf plaiting:. 

. . 2 

24 

stenciling:. 

6 

1 

Warm colors. 

. . 12 

34 

Wrap covering. 

1 

18 

Wave plaiting: . 

9 

26 

Wreath puffing. 

4 

18 

Wheel-rosette festooning: . . . 

. . 10 

10 

Wrench, Combination. 

1 

4 


























































































































































































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